The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, (...) showing how it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. Philosophers, psychologists and art theorists will find this a sophisticated and stimulating treatment of one of the central topics in aesthetics. (shrink)

In this paper we argue that the different positions taken by Dyson and Feynman on Feynman diagrams’ representational role depend on different styles of scientific thinking. We begin by criticizing the idea that Feynman Diagrams can be considered to be pictures or depictions of actual physical processes. We then show that the best interpretation of the role they play in quantum field theory and quantum electrodynamics is captured by Hughes' Denotation, Deduction and Interpretation theory of models (DDI), where “models” are (...) to be interpreted as inferential, non-representational devices constructed in given social contexts by the community of physicists. (shrink)

This paper proposes a parallel between the theories of pictorial representation put forward by Edmund Husserl and Richard Wollheim. By doing so, it aims to facilitate a dialogue that can provide some new elements for an appropriate understanding of threefold seeing-in. The first section offers a comprehensive interpretation of Husserl’s theory of image-consciousness. This experience is considered a threefold perceptual phantasy, different from perception and sign-consciousness. The second section presents a review of Wollheim’s theory of twofold seeing-in and (...) addresses a possible ambiguity in his notion of thing represented. Finally, the third section discusses two topics that result from this parallel: first, the characteristics of the configurational and recognitional folds in a seeing-in experience, and second, the possibility of their ‘mixture’ with phantasy. As a result, I propose a different account of threefold seeing-in: I suggest that the configurational and the recognitional folds should be considered aspects or intentions of seeing-in, and that the configurational aspect corresponds to the intention to the image-object. (shrink)

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)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. (...) Inspiration here comes from recent proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

Certain simple thoughts about pictures suggest that the contents of pictures are closely bound to vision. But how far can the striking features of depiction be accounted for merely in terms of the especially visual contents which belong to pictures, without considering, for example, any issues concerning the nature of the visual experiences with which pictures provide us? This article addresses that question by providing an account of the distinctively visual contents belonging to pictures, and by using that account to (...) explain many notable general facts about depiction. Some implications of the resulting framework for the main stream of current theorizing about pictorial representation are also discussed. (shrink)

The philosophical problem of pictorial conversational implicatures can be summarized as follows: We have three propositions that are independently plausible and jointly inconsistent. -/- (Non-P) Anti-propositionalism: pictures do not have context-independent, conventionally encoded propositional content (propositional function). -/- (C) Only those representations can be used to convey conversational implicatures which have associated with them a context-independent, conventionally encoded propositional content (function). -/- (I) Pictures can be used to convey conversational implicatures. -/- There are three ways of responding to the (...) problem: affirm (Non-P) and (C) while denying (I); affirm (C) and (I) while denying (Non-P); or affirm (Non-P) and (I) while denying (C). (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity (...) and modal narrowness motivates a view of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

Many have urged that the biggest obstacles to a physicalistic understanding of consciousness are the problems raised in connection with the subjectivity of consciousness. These problems are most acutely expressed in consideration of the knowledge argument against physicalism. I develop a novel account of the subjectivity of consciousness by explicating the ways in which mental representations may be perspectival. Crucial features of my account involve analogies between the representations involved in sensory experience and the ways in which pictorial representations (...) exhibit perspectives or points of view. I argue that the resultant account of subjectivity provides a basis for the strongest response physicalists can give to the knowledge argument. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs (...) pictorial discourses, and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: (...) the simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to (...) defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (shrink)

<The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my (...) purposes here, a consideration of the artist's intention. That an attribution of "style" can be comprehensive while leaving out a consideration of artists' intentions, I will argue by adopting the conceptual framework of Paul Thom's theory of interpretation. Before embarking on my project, I begin with a brief overview of the rather slippery notion of "style". (shrink)

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)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized (...) lower level aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

How can it be true that one sees a lake when looking at a picture of a lake, since one's gaze is directed upon a flat dry surface covered in paint? An adequate contemporary explanation cannot avoid taking a theoretical stand on some fundamental cognitive science issues concerning the nature of perception, of pictorial content, and of perceptual reference to items that, strictly speaking, have no physical existence. A solution is proposed that invokes a broadly functionalist, naturalistic theory of (...) perception, plus a double content analysis of perceptual interpretation, which permits non-supervenient, culturally autonomous modes of reference to be generated and artistically exploited even in a purely physical world. In addition, a functionalist concept of broad or 'spread' reference replaces the traditional precise intentional concept of reference, which previously made reference to non-existent items theoretically intractable. (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)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays (...) key roles in what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

[Pre-peer review draft available to download.] Our imaginative capacities shape the making of images, while the making of images has the ability to shape our imaginative capacities. What are the connections between vision and mental visual images that allow for this traffic between the contents of our minds and external images? And how are image-makers able to exploit the distinctive powers of imagery, to extend the modes of representation that are available to us, and hence also to extend the (...) resources upon which our imaginations can draw? The chapter explores various aspects of those issues. It starts by exploring “visual imagery” as a general category; and it identifies one very striking range of cases that encompasses both suitable mental and nonmental visual images. It develops a philosophical account of what is distinctive about the range of visual images thus identified. Subsequent sections then use the resulting ideas to investigate some of the ways in which various strategies for creating visual images exploit in remarkably inventive ways possibilities that are latent within the general phenomenon of imagistic representation. (shrink)

An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The paper concludes by considering the (...) bearing of its conclusions upon questions about the relationships between linguistic representation and pictorial representation. (shrink)

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.

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 motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

The philosophical conception of mechanistic explanation is grounded on a limited number of canonical examples. These examples provide an overly narrow view of contemporary scientific practice, because they do not reflect the extent to which the heuristic strategies and descriptive practices that contribute to mechanistic explanation have evolved beyond the well-known methods of decomposition, localization, and pictorial representation. Recent examples from evolutionary robotics and network approaches to biology and neuroscience demonstrate the increasingly important role played by computer simulations (...) and mathematical representations in the epistemic practices of mechanism discovery and mechanism description. These examples also indicate that the scope of mechanistic explanation must be re-examined: With new and increasingly powerful methods of discovery and description comes the possibility of describing mechanisms far more complex than traditionally assumed. (shrink)

Nelson Goodman’s theory of symbol systems expounded in his Languages of Art has been frequently criticized on many counts (cf. list of secondary literature in the entry “Goodman’s Aesthetics” of Stanford Encyclopedia of Philosophy and Sect. 3 below). Yet it exerts a strong influence and is treated as one of the major twentieth-century theories on the subject. While many of Goodman’s controversial theses are criticized, the technical notions he used to formulate them seem to have been treated as neutral tools. (...) One such technical notion is that of the density of symbol systems. This serves to distinguish linguistic symbols from pictorial representations (after Goodman entirely rejected resemblance in that role) and is a crucial part of Goodman’s explanation of what constitutes aesthetic experience (and so indirectly what is art). Thus its significance for Goodman’s theory is fundamental. The aim of this paper is a detailed, logical analysis of this notion. It turns out that Goodman’s definition is highly problematic and cannot be applied to symbol systems in the way Goodman envisaged. To conclude, Goodman’s theory is problematic not just because of its controversial theses but also because of logical problems with the technical notions used at its very core. Hence the controversial claims are not simply contestable, but inaccurately expressed. (shrink)

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 emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)

Shadow pictures radically changed the modern understanding of pictorial concepts. Tim Otto Roth’s broadly based cultural history traces the consequences of this revolution of methods of vision and image production in the sciences and the arts. By means of abundant image and text sources he develops a picture theory based on physics and projective geometry. This definitive book comprising 500 pages provides a generally understandable and vivid insight in the history of shadowgraphs from the 19th century until the present (...) age. A crucial role play scientific processes as the X-ray technique, but also the artistic examination of space and body. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be (...) vindicated by reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)

In this paper I consider Kendall Walton’s provocative views on the visual arts, including his approaches to understanding both figurative and nonfigurative painting. I introduce his central notion of fictionality, illustrating its advantages in explaining the phenomenon of ‘perceptual twofoldness’. I argue that Walton’s position treats abstract artwork reductively, and I outline two essential components of our aesthetic encounters with the nonfigurative that Walton excludes. I then offer some criticisms of his commitment to photographic realism, emphasising its theoretical inconsistencies with (...) his account of representation. My own proposal is that in our apprehension of non-figurative artworks, our attention is drawn to the underlying structures of both emotive and perceptual experience. In this way, paintings, particularly abstract ones, disclose human cognition in a manner that makes fictionality an inappropriate tool for their analysis. (shrink)

What do we see in a mirror? There is an ongoing debate whether mirrors present us with images of objects or whether we see, through the mirror, the objects themselves. Roberto Casati has recently argued that there is a categorical difference between images and mirror-reflections. His argument depends on the observation that mirrors, but not paintings, are sensitive to changes in the observer’s prospective. In our paper we scrutinize Casati’s argument and present a modal argument that shows that it cannot (...) establish this conclusion. We suggest that Casati’s line of reasoning suffers from the fact that he does not take dynamic images, i.e., images that change over time, into account. (shrink)

This book has three principle aims: to show that neither vision nor mental imagery involves the creation or inspection of picture-like mental representations; to defend the claim that our visual processes are, in significant part, cognitively impenetrable; and to develop a theory of “visual indexes”. In what follows, I assess Pylyshyn’s success in realising each of these aims in turn. I focus primarily on his arguments against “picture theories” of vision and mental imagery, to which approximately half the book is (...) devoted. I argue that Pylyshyn adopts an unnecessarily restricted interpretation of what it would be for mental representations to be picture-like, and that this leads him prematurely to reject the possibility of explaining the introspective evidence concerning the nature of mental imagery. (shrink)

The Humean view that conceivability entails possibility can be criticized via input from cognitive psychology. A mainstream view here has it that there are two candidate codings for mental representations (one of them being, according to some, reducible to the other): the linguistic and the pictorial, the difference between the two consisting in the degree of arbitrariness of the representation relation. If the conceivability of P at issue for Humeans involves the having of a linguistic mental representation, (...) then it is easy to show that we can conceive the impossible, for impossibilities can be represented by meaningful bits of language. If the conceivability of P amounts to the pictorial imaginability of a situation verifying P, then the question is whether the imagination at issue works purely qualitatively, that is, only by phenomenological resemblance with the imagined scenario. If so, the range of situations imaginable in this way is too limited to have a significant role in modal epistemology. If not, imagination will involve some arbitrary labeling component, which turns out to be sufficient for imagining the impossible. And if the relevant imagination is neither linguistic nor pictorial, Humeans will appear to resort to some representational magic, until they come up with a theory of a ‘third code’ for mental representations. (shrink)

The paper is an introduction to the third issue of the Journal for the Philosophy of Language, Mind and the Arts. The authors give an account of the theories that have most enriched the study of images since the second half of the twentieth century: analytical philosophy and visual culture studies. A distinction is made between the two philosophical traditions. On the one hand, in particular within the context of analytic philosophy, images have been studied as single entities in relationship (...) with both a referent and the perceptual or interpretive abilities of an observer. On the other hand, thanks in particular to the iconographic tradition inaugurated by Aby Warburg, images have been analyzed in their multiplicity, in their mutual relationship, both synchronically and diachronically. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...) seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous drawing (...) by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries. (shrink)

periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. (...) Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices. (shrink)

Tagging is the phenomenon in which regions of a picture, map, or diagram are annotated with words or other symbols, to provide descriptive information about a depicted object. The interpretive principles that govern tagged images are not well understood, due in part to the difficulty of integrating pictorial and linguistic semantic rules. Rather than directly combining these rules, I propose to use the framework of perspectival feature maps as an intermediary representation of content, in which the outputs of (...) pictorial and linguistic interpretation may be assimilated. The result is a simple and compositional semantics for tagged images. (shrink)

The analysis of multimodal argumentation in advertising is a crucial and problematic area of research. While its importance is growing in a time characterized by images and pictorial messages, the methods used for interpreting and reconstructing the structure of arguments expressed through verbal and visual means capture only isolated dimensions of this complex phenomenon. This paper intends to propose and illustrate a methodology for the reconstruction and analysis of “double-mode” arguments in advertisements, combining the instruments developed in social semiotics, (...) pragmatics, and argumentation theory. An advertisement is processed through a five-step path. The analysis of its context, text genre, and images leads to a first representation of the messages that it encodes both pictorially and verbally (step 1). These first semantic representations are further enriched by including their polyphonic articulations and presuppositions (step 2), their explicatures (step 3), and their dialogical functions and illocutionary forces (step 4). These pragmatic steps retrieve the commitment structure of the ad, which allows a further argument analysis conducted through argumentation schemes (step 5). (shrink)

Jenny Saville is a leading contemporary painter of female nudes. This paper explores her work in light of theories of gender and embodied agency. Recent work on the phenomenology of embodiment draws a distinction between the body image and the body schema. The body image is your representation of your own body, including your visual image of it and your emotional attitudes towards it. The body schema is comprised of your proprioceptive knowledge, your corporeally encoded memories, and your corporeal (...) proficiency with respect to various environments and activities. Saville is concerned with body image issues, and I discuss how she reconfigures representational practices with respect to feminine body images. However, the most exciting potential for feminist analysis of the state of the female nude derives from the concept of the body schema, for this concept endows the human body with subjectivity and agency. My key question, then, is by what pictorial means and to what extent Saville succeeds in representing agentic womanhood. I argue that interpreting Saville’s paintings from the standpoint of the body schema demonstrates the radicality of her remaking of the female nude and the rapport between her imagery and feminist values. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and (...) philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

This paper examines East Asian literati’s sisŏhwa (poetry, calligraphy and painting) mainly done by ink and wash painting and focuses on their painting theories related to integrative learning and artistic practice. The literati expressed their philosophical ideas using visual and textual language according to Illyul theory based on the Sŏhwa Same Origin theory. They delivered their intentions through symbolic meaning of the visible in terms of the Uisang theory, and put emphasis on ki in their pictorial space using the (...) Kiunsaengdong theory in a monistic universe. The literati’s process of sisŏhwa practice unifies the mind/spirit with body/material and connects humans with nature/the universe. It also enables the creation of a representation of nature according to Shitao’s Oneness of Brushstroke theory. Ultimately it trained them for aesthetic harmony and spiritual enlightenment. As a result, Sisŏhwa Contemplative Practice theory was formed. This paper suggests that this theory should be reconstructed as the basic discipline in education. (shrink)

Is thinking necessarily linguistic? Do we _think with words_, to use Bermudez’s (2003) phrase? Or does thinking occur in some other, yet to be determined, representational format? Or again do we think in various formats, switching from one to the other as tasks demand? In virtue perhaps of the ambiguous nature of first-person introspective data on the matter, philosophers have traditionally disagreed on this question, some thinking that thought had to be pictorial, other insisting that it could not be (...) but linguistic. When any problem divides a community of otherwise intelligent rational thinkers, one suspects some deep conceptual confusion is at play. Indeed, we believe that the conceptual categories used to frame these and related questions are so hopelessly muddled that one could honestly answer “both simultaneously”, or “neither”, depending one what is meant by the alternatives. But let’s get our priorities straight. This paper first and foremost aims at defending what we believe to be a step in that direction of the proper view of thinking, a view we call the spatial-motor view. In order to do so, however, we have found it essential to start by address the conceptual confusion just alluded to. Accordingly, the paper proceeds in two steps. First a conceptual step, in which we reconsider some of the traditional categories brought into play when thinking about thinking. Then an empirical step, in which we offer empirical evidence for one of the views conceptually isolated during the first part of the work. Future version of this collaborative work will include a speculative step in which we spin out an evolutionary and developmental scenario whose function it is justify the spatial-motor view by showing how it fits into current evolutionary and developmental theories. (shrink)

The principal aim of my thesis is to provide a unified theory of imagining, that is, a theory which aspires to capture the common nature of all central forms of imagining and to distinguish them from all paradigm instances of non-imaginative phenomena. The theory which I intend to put forward is a version of what I call the Agency Account of imagining and, accordingly, treats imaginings as mental actions of a certain kind. More precisely, it maintains that imaginings are mental (...) actions that aim at the formation of episodic representations, the content of which is directly determined by what we want them to represent. My defence of this version of the Agency Account happens in two stages. On the one hand, I try to show that it is both extensionally adequate and explanatorily illuminating with respect to those mental states or projects which are clear instances of either imaginative or non- imaginative phenomena. And on the other hand, I seek to demonstrate that the most plausible alternative to the Agency Account - namely the Cognitive Account according to which it is distinctive of imaginings that they are non-cognitive phenomena and thus to be contrasted with perceptions, judgements, and so on - is bound to fail as a unified theory of imagining. The dissertation contains five main parts. In the first, I specify in more detail what a unified account of imagining has to achieve and, in particular, which phenomena it is supposed to capture. The second part presents the Cognitive Account, thereby focussing on Brian O'Shaughnessy's sophisticated version of it while the third part is reserved for the evaluation and rejection of the Cognitive Account. In the fourth part, I develop my version of the Agency Account of imagining. And the fifth and last part is concerned with the accommodation of potential counterexamples to it. (shrink)

A number of elite thinkers in Europe during the 16th and 17th centuries pursued an agenda which historian Paolo Rossi calls the "quest for a universal language," a quest which was deeply interwoven with the emergence of the scientific method. From a modern perspective, one of the many surprising aspects of these efforts is that they relied on a diverse array of memorization techniques as foundational elements. In the case of Leibniz's universal calculus, the ultimate vision was to create a (...) pictorial language that could be learned by anyone in a matter of weeks and which would contain within it a symbolic representation of all domains of contemporary thought, ranging from the natural sciences, to theology, to law. In this brief article, I explore why this agenda might have been appealing to thinkers of this era by examining ancient and modern memory feats. As a thought experiment, I suggest that a society built entirely upon memorization might be less limited than we might otherwise imagine, and furthermore, that cultural norms discouraging the use of written language might have had implications for the development of scientific methodology. Viewed in this light, the efforts of Leibniz and others seem significantly less surprising. I close with some general observations about cross-cultural origins of scientific thought. (shrink)

This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view on (...) which the external spectator simply imagines herself interacting, psychologically and otherwise, with the depicted scene. I explore some of the consequences of the two positions for pictorial aesthetics, arguing that the view I favour is at least as competent as Wollheim's at accommodating those phenomena we have any reason to think hold. (shrink)

Pictures are created objects that have the function of generating a perceptual experience. In this sense, they are “experiential artifacts” (Terrone forthcoming). The experience elicited by pictures – usually visual (but for non-visual pictorial experience see e.g. Lopes 1997) – is a composite perceptual experience, in which the “perception” of the depicted scene (which is not in front of us) is generated by and experienced along the perception of the marked surface (the object that is actually in front of (...) us). This experience is usually called a “pictorial experience”. A philosophical analysis of such an experience amounts to answering the following questions: How should we describe the phenomenology of pictorial experience? What is it like to experience pictures? How should the “perception” of the depicted scene be characterized? Is it really a form of perception? How does it relate to the perception of the marked surface? (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)