Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend (...) the account against certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. (...) From this discussion, two points will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how (...) more precisely does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the (...) notion of outline shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)

Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...) argue, reveals a much cited disanalogy between depiction and description is illusory: the structure of pictures, like language, is compositional. (shrink)

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 guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)

In books 8 and 9 of Plato’s Republic, Socrates provides a detailed account of the nature and origins of four main kinds of vice found in political constitutions and in the kinds of people that correspond to them. The third of the four corrupt kinds of person he describes is the ‘democratic man’. In this paper, I ask what ‘rules’ in the democratic man’s soul. It is commonly thought that his soul is ruled in some way by its appetitive part, (...) or by a particular class of appetitive desires. I reject this view, and argue instead that his soul is ruled by a succession of desires of a full range of different kinds. I show how this view helps us better understand Plato’s depiction of corrupt souls in the Republic more generally, and with it his views on the rule of the soul, appetitive desire, and the nature of vice. (shrink)

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. In a nutshell, according to the syncretistic theory a picture depicts its subject iff i) it is transformed into an entity-cum-meaning and ii) one has the twofold experience of seeing that subject in the picture qua noninterpreted entity, the image, just in case one consciously misrecognizes it in consciously seeing that image, for that subject resembles the image in some grouping properties (originally labelled Gestalt-qualities in psychology). By appealing to objective resemblance in grouping properties, the theory can vindicate what are nowadays taken to be the most neglected doctrines in the perceptualist camp: objective resemblance theories. By appealing, moreover, to conscious misrecognition, the theory not only squares with both the seeing-in and the recognition theories of depiction, but it also shows the grain of truth in illusion theories of depiction, since conscious misrecognition is a kind of perceptual illusion. (shrink)

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

Review of A Syncretistic Theory of Depiction by Alberto Voltolini.

In book 9 of Plato's Republic, Socrates describes the nature and origins of the ‘tyrannical man’, whose soul is said to be ‘like’ a tyrannical city. In this paper, I examine the nature of the ‘government’ that exists within the tyrannical man's soul. I begin by demonstrating the inadequacy of three potentially attractive views sometimes found in the literature on Plato: the view that the tyrannical man's soul is ruled by his ‘lawless’ unnecessary appetites, the view that it is ruled (...) by sexual desire, and the view that it is ruled by a lust for power. I then present my own account. On the view I defend, the tyrannical man's soul is to be understood as ruled by a single, persistent, powerful desire for bodily pleasure: as much as he can get, and however he can get it. Finally, I show how understanding the tyrannical man's soul in the way I recommend helps resolve some commonly expressed concerns about this part of the Republic. I suggest, on this basis, that Plato's procedure in constructing his catalogue o.. (shrink)

Australasian Journal of Philosophy, Volume 90, Issue 1, Page 187-189, March 2012.

Nous défendons la thèse selon laquelle les images sont phénoménalement transparentes : nous ne voyons (quasiment) jamais leur surface mais seulement ce que les images dépeignent, ce qui implique que notre expérience des images est fondamentalement une illusion. Cette thèse s’oppose à celle de R. Wollheim, qui fait aujourd’hui figure de position standard, selon laquelle nous percevons la surface et le depictum. Une même expérience perceptive, selon nous, ne peut avoir deux objets ou deux aspects. En ce sens, nous sommes (...) plus proche de la position de E.H. Gombrich : nous percevons soit la surface, soit le depictum, mais jamais les deux. Nous cherchons toutefois à la radicaliser en soutenant qu’il est finalement très rare de percevoir la surface de l’image. (shrink)

I introduce some distinctions concerning depiction and show that the checker-shadow phenomenon is not an illusion of the kind it is claimed to be. This might also help to think more clearly about other ‘illusory’ phenomena.

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)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any (...) medium (or genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

I defend the view that it is not impossible to see the impossible. I provide two examples in which one sees the impossible and defend these examples from potential objections. Theories of depiction should make room for impossible depictions.

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed (...) such attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

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.

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then (...) argue that two considerations jointly preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

What is special about picturing according to the rules of perspectival drawing systems? My answer is at once both radical and conciliatory. I think that depiction essentially involves a distinctive experience, an experience of resemblance. More precisely, the picture must be seen as preserving what Thomas Reid (Enquiry 1764) called the "visible figure" of what is represented. It follows from this, and from some other plausible premises, that if a picture is to depict detailed spatial arrangements, rather than simply (...) to represent them in some other, non-pictorial, way, it must conform to perspectival rules. Hence the radicalism. Perspective does not provide uniquely accurate or realistic ways to depict things, but, for certain aspects of the world, the only way to depict them at all. What of the conciliatory aspect of my view? My account of depiction in no way implies that only perspectival pictures can depict anything at all. Indeed, it is quite consistent with a good deal of variation in the marks which might, in the right context, depict a given content. But better still, the factors determining what we see a picture as resembling, and hence partially determining what it depicts, are just those factors emphasized by those who take perspective to be a matter of convention. They include, for instance, the nature of the subject's perceptual environment, and the sorts of pictures to which he has previously been exposed. Thus, even given the radical claim, the variety in ways of depicting a given thing is neither incomprehensible nor indicative of some kind of failure. We can understand perspective's special status without denigrating the alternatives. (shrink)

I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)

It’s a platitude that a picture is realistic to the degree to which it resembles what it represents (in relevant respects). But if properties are abundant and degrees of resemblance are proportions of properties in common, then the degree of resemblance between different particulars is constant (or undefined), which is inconsonant with the platitude. This paper argues this problem should be resolved by revising the analysis of degrees of resemblance in terms of proportion of properties in common, and not by (...) accepting a sparse theory of properties or by denying that degree of realism is degree of resemblance (in relevant respects). (shrink)

A brief study of Saul Steinberg’s works on shadows and reflections, and of the seemingly paradoxical world that emerges from such works.

Fideism, as a philosophical and theological view, is defined in various manners. Sometimes it is defined as the priority of faith over accounts of all kinds of cognition based on human reason. The Geneva reformer John Calvin (1509–1564) was a fideist, and he simultaneously admired Saint Augustine — traces of that admiration can be found very easy in the chief Calvin’s work Institutio christianae religionis. However, this does not mean that he shared Augustinian views on faith‑reason relations. John Calvin adopted (...) late‑Augustinian interests, and was especially concerned with the issue of predestination. The Geneva reformer was the author of the double predestination doctrine. The chief claim of this doctrine is that: God intended one part of humanity for salvation; and the other one for damnation. This conclusion was supported with numerous quotations from the Old and the New Testament, and followed from the accepted exegetic principle that all words of the Holy Scripture are to be understood literally. Calvin also acted selectively and did not take into account other passages of the Bible contrary to them in sense. These different, even contradictory words and quotations create an incoherent image of God, which Calvin left unexplained as one of God’s mysteries. According to this image, God is a petulant despot, who by his irrational will treats people with unequal measure. God has settled a priori who would be saved and who would be damned, so the will of concrete man to act well or badly is without importance. In consequence, God is responsible for the evil and sins committed by people. Calvin’s God is unfair because he is merciful for one man, but not for other one. In approving a voluntaristic image of God, Calvin started becoming, particularly in the doctrine of double predestination, an extreme fideist, much more than his master Augustine. However, in later decades (especially in the seventeenth century), Calvin’s version of Christianity gaverise a rebellion against the double predestination doctrine, first in the ranks of the Dutch Calvinistic theologians (Armenians), and later in the circles of the English philosophers (Cambridge Platonics). In the end, Calvinism became a compromised Christianity and essentially contributed to the development of deism and atheism in Western European Countries in the eighteenth century. (shrink)

Enacting Images is devoted to images as they can mobilize cognition and theorizing. Though we can speak of a pictorial turn now that images have become a distinct and full-fledged topic of investigation, some may continue to cling to the impression that images should still be considered within a fundamentally representationalist framework. As an alternative, the enactive approach provides a conceptual setup within which images, beyond their informational, immersive, and aesthetic power, can be considered as being the manifestations of a (...) new epistemic access to the world. The present volume is a collection of essays that reflectively investigate the theoretical prerequisites, scope, and limits of enactive approach. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. -/- Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? -/- Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

Zeno’s paradoxes of motion, allegedly denying motion, have been conceived to reinforce the Parmenidean vision of an immutable world. The aim of this article is to demonstrate that these famous logical paradoxes should be seen instead as paradoxes of immobility. From this new point of view, motion is therefore no longer logically problematic, while immobility is. This is convenient since it is easy to conceive that immobility can actually conceal motion, and thus the proposition “immobility is mere illusion of the (...) senses” is much more credible than the reverse thesis supported by Parmenides. Moreover, this proposition is also supported by modern depiction of material bodies: the existence of a ceaseless random motion of atoms—the ‘thermal agitation’—in the scope of contemporary atomic theory, can offer a rational explanation of this ‘illusion of immobility’. Our new approach to Zeno’s paradoxes therefore leads to presenting the novel concept of ‘impermobility’, which we think is a more adequate description of physical reality. (shrink)

This essay is concerned with two interrelated questions. First, a broad question: in what sense is Skepticism a philosophy− or in what sense is it “philosophy” (as we will see, these are not identical questions)? Second, a narrow one: how should we understand the process whereby ataraxia (freedom from disturbance) emerges out of epochē (suspension of judgment)? The first question arises because Skepticism is often portrayed as anti-philosophy. This depiction, I contend, surreptitiously turns a Skeptical method into a so-called (...) Skeptical doctrine which is then either condemned for being self-refuting or salvaged as a plausible (albeit odd) epistemological theory. Instead, philosophy, for the Skeptics, is a matter of practice. Skepticism is not so much a philosophy that has a worldview to proclaim as it is a philosophy that invites us to perform something. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in relation (...) to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

The similarity view of scientific representation has recently been subjected to strong criticism. Much of this criticism has been directed against a ?naive? similarity account, which tries to explain representation solely in terms of similarity between scientific models and the world. This article examines the more sophisticated account offered by the similarity view's leading proponent, Ronald Giere. In contrast to the naive account, Giere's account appeals to the role played by the scientists using a scientific model. A similar move is (...) often made by defenders of resemblance theories of depiction, who invoke the role played by the artist, or by the viewers of a painting. In this article I look to debates over depiction to assess the difficulties facing those who wish to defend the similarity view of scientific representation. I then turn to examine Giere's account. Ultimately, I argue, this account is unsuccessful: while appealing to the role of scientists offers a promising way to defend the similarity view, Giere's own account does not capture what it is that scientists do when they use a model to represent the world. (shrink)

By its alternative depiction of God's non-violent creative power at the start of the biblical canon, Gen 1 signals the Creator's original intent for shalom and blessing at the outset of human history, prior to the rise of human (or divine) violence. Gen 1 constitutes a normative framework by which we may judge all the violence that pervades the rest of the Bible.

The possibilities of depicting non-existents, depicting non-particulars and depictive misrepresentation are frequently cited as grounds for denying the platitude that depiction is mediated by resemblance. I first argue that these problems are really a manifestation of the more general problem of intentionality. I then show how there is a plausible solution to the general problem of intentionality which is consonant with the platitude.

In an overlooked section of his influential book What We Owe to Each Other Thomas Scanlon advances an argument against the desire-model of practical reasoning. In Scanlon’s view the model gives a distorted picture of the structure of our practical thinking. His idea is that there is an alternative to the “weighing behavior” of reasons, a particular way in which reasons can relate to each other. This phenomenon, which the paper calls “silencing”, is not something that the desire-model can accommodate, (...) or so Scanlon argues. The paper first presents and interprets Scanlon’s challenge. After this, the paper argues, through the examination of three responses, that Scanlon is right in claiming that the model cannot accommodate the phenomenon as he describes it. However, the paper further argues that there is no need to accept Scanlon’s depiction of silencing: advocates of the model can give an alternative account of what happens in cases of silencing that is just as plausible as Scanlon’s own. Scanlon’s challenge is thus, the paper concludes, illegitimate. (shrink)

Philosophers often give procrastination an anemic description—a preference, a confl ict, a case of irrationality. Presumably, this is done in order to make it susceptible to analysis. But if one makes use of ethical theory, particularly one with an accompanying account of moral psychology, no arid depiction of procrastination is necessary. An ethical theory that is robust enough—such as traditional virtue ethics—can meet procrastination head on, unhindered by its complex emotionality and opaque intentionality. It can then place it alongside (...) similarly complex behavior, comparing and contrasting until we have some account of the darker alleyways of our nature and the limits of our self-control.That the term vice is out of favor gives us no reason to deny that procrastination is a moral phenomenon. (shrink)

It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the concept of (...) the image subject as the depicted object in Husserl’s theory. I will claim that our experience of non-figurative pictures is a two-fold seeing-in, while that of figurative pictures is a three-fold seeing-in. (shrink)

Plato’s depiction of the first city in the Republic (Book II), the so-called ‘city of pigs’, is often read as expressing nostalgia for an earlier, simpler era in which moral norms were secure. This goes naturally with readings of other Platonic texts (including Republic I and the Gorgias) as expressing a sense of moral decline or crisis in Plato’s own time. This image of Plato as a spokesman for ‘moral nostalgia’ is here traced in various nineteenth- and twentieth-century interpretations, (...) and rejected. Plato’s pessimism about human nature in fact precludes any easy assumption that things, or people, were better in the old days. (shrink)

The aim of this paper is to read Martin Heidegger’s later philosophy in terms of the assertion that themes such as the fourfold (das Geviert) and poetic dwelling could be interpreted as mythical elements within his writing. Heidegger’s later thought is often construed as challenging and difficult due to its quasi-mystical nature. However, this paper aims to illustrate that if one approaches his later thought from the perspective of myth, a different dimension of Heidegger’s thinking is revealed which is perhaps (...) more tenable than attempting to address his later thought purely from a philosophical position. In brief, Heidegger’s concept of the fourfold involves the following entities: mortals, divinities, the sky and the earth. His argument is that for mortals to dwell poetically (implying the living of a meaningful, holistic life) they must recognise and assume the guardianship of Being (which is inclusive of all the elements of the fourfold). Heidegger argues that our guardianship of Being will be a natural extension of our existence, once we realise the holiness or sacred nature of Being as such. Thus, the concept of the fourfold represents the possibility of existing in a harmonious, caring (or saving), relationship with Being. However, following Heidegger this holistic (and, arguably mythical) depiction of our existence is extremely unlikely due to the rampant nature of technological enframing (Gestell) that dictates the use of human and natural resources. Conceptually though, if this holistic depiction is approached taking into account Ricoeur’s argument regarding myth then it becomes tenable. Ricoeur writes that myth has a symbolic function in terms of its power of discovery and revelation and this implies that myth has a projected horizon. This horizon, Ricoeur writes, is a ‘disclosure of unprecedented worlds, an opening on to other possible worlds which transcend the established limits of our actual world’ (1997: 8). Thus, applying these characterisations of myth to elements of Heidegger’s later philosophy will reveal a justifiable and coherent interpretation of his concept of the fourfold from a mythical perspective. Such a reading demonstrates the centrality of the fourfold in Heidegger’s later thought, which more strictly philosophical approaches may undervalue. In closing this paper suggests the usefulness of a mythological approach to the later Heidegger, and demonstrates the continued vitality of myth, as a profoundly human paradigm which, as Heidegger recognised, can simultaneously complement and transcend our more restricted rational endeavours. (shrink)