Results for 'Depiction'

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Bibliography: Depiction in Aesthetics
  1. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    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 (...)
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  2. Explaining Depiction.Robert Hopkins - 1995 - Philosophical Review 104 (3):425-455.
    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 (...)
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  3. Depiction and Imagination.Jiri Benovsky - 2016 - SATS 17 (1):61-80.
    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. (...)
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  4. Defining Depiction.Ben Blumson - 2009 - British Journal of Aesthetics 49 (2):143-157.
    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.
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  5. Depiction and Convention.Ben Blumson - 2008 - Dialectica 62 (3):335-348.
    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.
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  6. 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 (...)
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  7. Anarchic Souls: Plato’s Depiction of the ‘Democratic Man’.Mark Johnstone - 2013 - Phronesis 58 (2):139-59.
    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, (...)
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  8. The Speaking Image: Visual Communication and the Nature of Depiction.Robert Hopkins - 2006 - In Matthew Kieran (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell. pp. 135--159.
    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 (...)
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  9. Tyrannized Souls: Plato's Depiction of the ‘Tyrannical Man’.Mark A. Johnstone - 2015 - British Journal for the History of Philosophy 23 (3):423-437.
    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 (...)
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  10. Depiction and Composition.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 99-116.
    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 (...)
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  11. Towards a Syncretistic Theory of Depiction.Alberto Voltolini - 2012 - In C. Calabi (ed.), Perceptual Illusions. Philosophical and Psychological Essays. Palgrave.
    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 (...)
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  12. On Outlining the Shape of Depiction.Catharine Abell - 2005 - Ratio 18 (1):27–38.
    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 (...)
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  13.  91
    Taking Twofoldness Seriously: Walton on Imagination and Depiction.Bence Nanay - 2004 - Journal of Aesthetics and Art Criticism 62 (3):285–289.
    This paper analyzes Kendall Walton's theory of depiction and, more specifically, his notion of twofoldness. I argue that (1) Walton’s notion of twofoldness is, in spite of what Walton claims, very different from Richard Wollheim’s and (2) Walton’s notion of twofoldness is inconsistent with the rest of his theory of depiction.
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  14. Pornography at the Edge: Depiction, Fiction, & Sexual Predilection.Christy Mag Uidhir & Henry Pratt - 2013 - In Hans Maes & Jerrold Levinson (eds.), Art and Pornography: Philosophical Essays. Oxford University Press. pp. 137-160.
    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 (...)
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  15.  71
    A Syncretistic Theory of Depiction[REVIEW]Ben Blumson - 2016 - British Journal of Aesthetics 56 (4):427-429.
    Review of A Syncretistic Theory of Depiction by Alberto Voltolini.
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  16. Philosophical Perspectives on Depiction[REVIEW]Ben Blumson - 2012 - Australasian Journal of Philosophy 90 (1):187 - 189.
    Australasian Journal of Philosophy, Volume 90, Issue 1, Page 187-189, March 2012.
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  17.  60
    Illusion et Depiction: La Surface Invisible.Olivier Massin & Philippe Poncet - 2008 - Swiss Philosophical Preprints.
    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 (...)
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  18. Beyond Resemblance.Gabriel Greenberg - 2013 - Philosophical Review 122 (2):215-287.
    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 (...)
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  19. Pictures, Perspective and Possibility.Ben Blumson - 2010 - Philosophical Studies 149 (2):135 - 151.
    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.
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  20. Perspective, Convention and Compromise.Robert Hopkins - 2003 - In Heiko Hecht, Margaret Atherton & Robert Schwartz (eds.), Looking Into Pictures: an interdisciplinary approach to pictorial space. MIT Press. pp. 145-165.
    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 (...)
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  21.  97
    Against Depictive Conventionalism.Catharine Abell - 2005 - American Philosophical Quarterly 42 (3):185 - 197.
    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 (...)
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  22.  88
    Depicting Depictions.René Jagnow - 2017 - Pacific Philosophical Quarterly 98 (S1):453-479.
    How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in (...)
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  23. Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    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 (...)
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  24. Gombrich and the Duck-Rabbit.Robert Eamon Briscoe - 2018 - In Michael Beaney (ed.), Aspect Perception After Wittgenstein: Seeing-as and Novelty. Routledge. pp. 49-88.
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  25.  97
    McIntosh's Unrealistic Picture of Peacocke and Hopkins on Realistic Pictures.C. Abell - 2005 - British Journal of Aesthetics 45 (1):64-68.
    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.
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  26. Seeing the Impossible.Andreas Elpidorou - 2016 - Journal of Aesthetics and Art Criticism 74 (1):11-21.
    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.
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  27. The Epistemic Misuse & Abuse of Pictorial Caricature.Christy Mag Uidhir - 2013 - American Philosophical Quarterly 50 (2):137-152.
    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 (...)
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  28. No Time to Move: Motion, Painting and Temporal Experience.Jack Shardlow - 2020 - Philosophy 95 (3):239 - 260.
    This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict (...)
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  29.  94
    Sense and Reference of Pictures.Maarten Steenhagen - 2020 - British Journal of Aesthetics (1):1-5.
    John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.
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  30. Pictures Have Propositional Content.Alex Grzankowski - 2015 - Review of Philosophy and Psychology 6 (1):151-163.
    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 (...)
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  31. The Checker-Shadow “Illusion”?Hanoch Ben-Yami - manuscript
    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.
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  32. Sehen lassen: Die Praxis des Zeigens. [REVIEW]Maarten Steenhagen - 2015 - British Journal of Aesthetics 55 (2):249-252.
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  33. Perceiving Pictures.Bence Nanay - 2011 - Phenomenology and the Cognitive Sciences 10 (4):461-480.
    I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...)
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  34. Created in the Image of a Violent God?: The Ethical Problem of the Conquest of Chaos in Biblical Creation Texts.J. Richard Middleton - 2004 - Interpretation: A Journal of Bible and Theology 58 (4):341-355.
    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.
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  35. Platonism, Moral Nostalgia and the City of Pigs.Rachel Barney - 2001 - Proceedings of the Boston Area Colloquium of Ancient Philosophy 17 (1):207-27.
    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, (...)
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  36. Transparency and Sensorimotor Contingencies: Do We See Through Photographs?Bence Nanay - 2010 - Pacific Philosophical Quarterly 91 (4):463-480.
    It has been claimed that photographs are transparent: we see through them; we literally see the photographed object through the photograph. Whether this claim is true depends on the way we conceive of seeing. There has been a controversy about whether localizing the perceived object in one's egocentric space is a necessary feature of seeing, as if it is, then photographs are unlikely to be transparent. I would like to propose and defend another, much weaker, necessary condition for seeing: I (...)
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  37. Similarity and Scientific Representation.Adam Toon - 2012 - International Studies in the Philosophy of Science 26 (3):241-257.
    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 (...)
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  38. Impossible Figures.Fiona Macpherson - 2010 - In E. B. Goldstein (ed.), SAGE Encyclopedia of Perception. Sage Publications.
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  39.  66
    From the "'Logic of Molecular Syntax' to Molecular Pragmatism. Explanatory Deficits in Manfred Eigen's Concept of Language and Communication.Guenther Witzany - 1995 - Evolution and Cognition 2 (1):148-168.
    Manfred Eigen employs the terms language and communication to explain key recombination processes of DNA as well as to explain the self-organization of human language and communication: Life processes as well as language and communication processes are governed by the logic of a molecular syntax, which is the exact depiction of a principally formalizable reality. The author of the present contribution demonstrates that this view of Manfred Eigen’s cannot be sufficiently substantiated and that it must be supplemented by an (...)
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  40. Inflected and Uninflected Perception of Pictures.Bence Nanay - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures in (...)
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  41. The Best Memories: Identity, Narrative, and Objects.Richard Heersmink & Christopher Jade McCarroll - 2019 - In Timothy Shanahan & Paul Smart (eds.), Blade Runner 2049: A Philosophical Exploration. Routledge. pp. 87-107.
    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 (...)
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  42. Seeing, Visualizing, and Believing: Pictures and Cognitive Penetration.John Zeimbekis - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford University Press. pp. 298-327.
    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 (...)
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  43. Silencing Desires?Attila Tanyi - 2013 - Philosophia 41 (3):887-903.
    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, (...)
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  44. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    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 (...)
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  45. A Constructive Thomistic Response to Heidegger’s Destructive Criticism: On Existence, Essence and the Possibility of Truth as Adequation.Liran Shia Gordon & Avital Wohlman - 2020 - Heythrop Journal 5 (61):825-841.
    Martin Heidegger devotes extensive discussion to medieval philosophers, particularly to their treatment of Truth and Being. On both these topics, Heidegger accuses them of forgetting the question of Being and of being responsible for subjugating truth to the modern crusade for certainty: ‘truth is denied its own mode of being’ and is subordinated ‘to an intellect that judges correctly’. Though there are some studies that discuss Heidegger’s debt to and criticism of medieval thought, particularly that of Thomas Aquinas, there is (...)
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  46. Can Mathematics Explain the Evolution of Human Language?Guenther Witzany - 2011 - Communicative and Integrative Biology 4 (5):516-520.
    Investigation into the sequence structure of the genetic code by means of an informatic approach is a real success story. The features of human language are also the object of investigation within the realm of formal language theories. They focus on the common rules of a universal grammar that lies behind all languages and determine generation of syntactic structures. This universal grammar is a depiction of material reality, i.e., the hidden logical order of things and its relations determined by (...)
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  47. The Macro and the Micro.Bence Nanay - 2012 - Journal of Aesthetics and Art Criticism 70 (1):91-100.
    Andreas Gursky is the darling of philosophers and art theorists of all kinds of traditions and denominations. He has been used as a prime example of the return of the sublime in contemporary art, as a trailblazer in the use of the digital manipulation of images in order to represent something abstract and even as a philosopher of perception who makes some subtle point about the nature of visual experience. All of these arguments are based on some or another technological (...)
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  48. Husserl’s Struggle with Mental Images: Imaging and Imagining Reconsidered.Andreea Smaranda Aldea - 2013 - Continental Philosophy Review 46 (3):371-394.
    Husserl’s extensive analyses of image consciousness (Bildbewusstsein) and of the imagination (Phantasie) offer insightful and detailed structural explications. However, despite this careful work, Husserl’s discussions fail to overcome the need to rely on a most problematic concept: mental images. The epistemological conundrums triggered by the conceptual framework of mental images are well known—we have only to remember the questions regarding knowledge acquisition that plagued British empiricism. Beyond these problems, however, a plethora of important questions arise from claiming that mental images (...)
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  49. Anti-Pornography.Bence Nanay - 2012 - In Hans Maes & Jerrold Levinson (eds.), Art and Pornography. Oxford University Press.
    One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...)
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  50. Images, Intentionality and Inexistence.Ben Blumson - 2009 - Philosophy and Phenomenological Research 79 (3):522-538.
    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.
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