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Are pictures unavoidably specific?

Synthese 57 (1):83 - 98 (1983)

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  1. (1 other version)The magical number seven, plus or minus two: Some limits on our capacity for processing information.George A. Miller - 1956 - Psychological Review 101 (2):343-352.
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  • Pictures and their use in communication.David Novitz - 1977 - Martinus Nijhoff.
    CHAPTER ONE PICTURING What is it for one thing to be a picture of another? There are numerous theories which purport to clarify the picturing relation, ...
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  • Goodman's account of representation.N. G. E. Harris - 1973 - Journal of Aesthetics and Art Criticism 31 (3):323-327.
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  • Word and Object.Willard Van Orman Quine - 1960 - Les Etudes Philosophiques 17 (2):278-279.
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  • (2 other versions)Languages of Art.Nelson Goodman - 1970 - Philosophy and Rhetoric 3 (1):62-63.
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  • Mental representations.Elliott Sober - 1976 - Synthese 33 (June):101-48.
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  • The uniqueness and reproducibility of a work of art: A critique of Goodman's theory.Anthony Ralls - 1972 - Philosophical Quarterly 22 (86):1-18.
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  • The Arts and Cognition.David Perkins & Barbara Leondar - 1977 - Journal of Aesthetics and Art Criticism 36 (2):218-220.
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  • Problems and projects.Nelson Goodman (ed.) - 1972 - Indianapolis,: Bobbs-Merrill.
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  • Representational Symbol Systems.Barry Loewer & John W. Godbey - 1978 - Semiotica 23 (3-4).
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  • The convertibility of symbols: A reply to Goodman's critics.V. A. Howard - 1975 - British Journal of Aesthetics 15 (3):207-216.
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  • Languages of art and art criticism.Monroe C. Beardsley - 1978 - Erkenntnis 12 (1):95 - 118.
    What implications does goodman's "languages of art" have for the theory and practice of art criticism? to account for the cognitive value of pictorial representations, It apparently requires to be supplemented by a concept of depiction, Or indefinite reference. For goodman's theory of expression to be convincing, Criteria are needed to discriminate exemplification in goodman's sense from the mere possession of labels. Some of the fundamental criteria of evaluation very widely used by art critics do not seem to be those (...)
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  • Reply to Beardsley.Nelson Goodman - 1978 - Erkenntnis 12 (1):169 - 173.
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