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  1. Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Critical Inquiry 11 (2):246-277.
    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 (...)
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  • John Haugeland, having thought. Essays in the metaphysics of mind.Rüdiger Vaas - 2000 - Erkenntnis 52 (1):139-147.
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  • On Photography.Susan Sontag - 1978 - Journal of Aesthetics and Art Criticism 36 (4):514-515.
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  • Photography and Representation.Roger Scruton - 1981 - Critical Inquiry 7 (3):577-603.
    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 (...)
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  • Deeper into Pictures: An Essay on Pictorial Representation. [REVIEW]Diana Raffman - 1989 - Philosophical Review 98 (4):576.
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  • Photography and causation: Responding to Scruton's scepticism.Dawn M. Phillips - 2009 - British Journal of Aesthetics 49 (4):327-340.
    According to Roger Scruton, it is not possible for photographs to be representational art. Most responses to Scruton’s scepticism are versions of the claim that Scruton disregards the extent to which intentionality features in photography; but these cannot force him to give up his notion of the ideal photograph. My approach is to argue that Scruton has misconstrued the role of causation in his discussion of photography. I claim that although Scruton insists that the ideal photograph is defined by its (...)
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  • Image Interpretation: Bridging the Gap from Mechanically Produced Image to Representation.Laura Perini - 2012 - International Studies in the Philosophy of Science 26 (2):153-170.
    There is currently a gap in our understanding of how figures produced by mechanical imaging techniques play evidential roles: several studies based on close examination of scientific practice show that imaging techniques do not yield data whose significance can simply be read off the image. If image-making technology is not a simple matter of nature re-presenting itself to us in a legible way, just how do the images produced provide support for scientific claims? In this article I will first show (...)
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  • Seeing through "seeing through photographs".Nigel Warburton - 1988 - Ratio 1 (1):64-74.
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  • Sounds and Images.M. G. F. Martin - 2012 - British Journal of Aesthetics 52 (4):331-351.
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  • Photographic Representation and Depiction of Temporal Extension.Jiri Benovsky - 2012 - Inquiry: An Interdisciplinary Journal of Philosophy 55 (2):194-213.
    The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and (...)
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  • Automatism, causality and realism: Foundational problems in the philosophy of photography.Diarmuid Costello & Dawn M. Phillips - 2008 - Philosophy Compass 4 (1):1-21.
    This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...)
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  • Moment and movement in art.E. H. Gombrich - 1964 - Journal of the Warburg and Courtauld Institutes 27 (1):293-306.
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  • On the epistemic value of photographs.Jonathan Cohen & Aaron Meskin - 2004 - Journal of Aesthetics and Art Criticism 62 (2):197–210.
    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 (...)
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  • Pictorial representation: A matter of resemblance.Karen Neander - 1987 - British Journal of Aesthetics 27 (3):213-226.
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  • The Image and the Eye: Further Studies in the Psychology of Pictorial Representation.Ronald N. MacGregor - 1985 - Journal of Aesthetic Education 19 (4):118.
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  • Review of On Images. Their Structure and Content. [REVIEW]Hans Maes - 2007 - Tijdschrift Voor Filosofie 69 (4):780-781.
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  • Image and Mind: Film, Philosophy, and Cognitive Science.Berys Gaut & Gregory Currie - 1998 - Philosophical Review 107 (1):138.
    In this important and impressive book, Gregory Currie tackles several fundamental topics in the philosophy of film and says much of general interest about the nature of imagination. The first part examines the nature of film representation, rejecting the view that spectators are subject to any kind of cognitive or perceptual illusions. Currie also argues against Walton’s transparency claim, which holds that when we look at a photograph we are literally seeing the object photographed. He instead defends perceptual realism, the (...)
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  • Transparency and the photographic image.Jonathan Friday - 1996 - British Journal of Aesthetics 36 (1):30-42.
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  • Photography and the representation of vision.Jonathan Friday - 2001 - Journal of Aesthetics and Art Criticism 59 (4):351–362.
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  • Cinema as a representational art.Catharine Abell - 2010 - British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
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