Results for 'Picture'

998 found
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  1. 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 (...)
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  2. Pictures, Propositions, and Predicates.Dominic Gregory - 2020 - American Philosophical Quarterly 57 (2):155-170.
    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 (...)
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  3. Some Pictures Are Worth 2Aleph0 Sentences.Philip Kitcher & Achille Varzi - 2000 - Philosophy 75 (3):377-381.
    According to the cliché a picture is worth a thousand words. But this is a canard, for it vastly underestimates the expressive power of many pictures and diagrams. In this note we show that even a simple map such as the outline of Manhattan Island, accompanied by a pointer marking North, implies a vast infinity of statements—including a vast infinity of true statements.
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  4. 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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  5. Sonic Pictures.Jason P. Leddington - 2021 - Journal of Aesthetics and Art Criticism 79 (3):354-365.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...)
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  6. The Picture Theory.Colin Johnston - 2017 - In Hans-Johann Glock & John Hyman (eds.), A Companion to Wittgenstein. Chichester, West Sussex, UK: Wiley-Blackwell. pp. 141–158.
    This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of truth. The (...)
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  7. From Pictures to Employments: Later Wittgenstein on 'the Infinite'.Philip Bold - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    With respect to the metaphysics of infinity, the tendency of standard debates is to either endorse or to deny the reality of ‘the infinite’. But how should we understand the notion of ‘reality’ employed in stating these options? Wittgenstein’s critical strategy shows that the notion is grounded in a confusion: talk of infinity naturally takes hold of one’s imagination due to the sway of verbal pictures and analogies suggested by our words. This is the source of various philosophical pictures that (...)
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  8. 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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  9.  82
    Crossing pictures of ‘determination’ in Wittgenstein's remarks on rule‐following.Philip Bold - 2023 - Philosophical Investigations 47 (1):32-52.
    In PI 189, Wittgenstein's interlocutor asks, ‘But are the steps then not determined by the algebraic formula?’. Wittgenstein responds, ‘The question contains a mistake’. What is the mistake contained in the interlocutor's question? Wittgenstein's elaboration is neither explicit nor its intended upshot transparent. In this paper, I offer a reading on which the interlocutor's question arises from illicitly crossing different pictures of ‘determination’. I begin by working through Wittgenstein's machine analogy in PI 193, which illustrates picture‐crossing in our ways (...)
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  10. A Picture Held us Captive: The Later Wittgenstein and Visual Argumentation.Steven W. Patterson - 2011 - Cogency: Journal of Reasoning and Argumentation 2 (2):105-134.
    The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear on (...)
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  11. The Picture Theory of Disability.Steven J. Firth - 2023 - Cambridge Quarterly of Healthcare Ethics 1 (2):198-216.
    The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory (...)
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  12. Philosophical Pictures from Philosopher Portraits.John Dilworth - manuscript
    Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.
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  13. Picturing Knowledge: Historical and Philosophical Problems Concerning the Use of Art in Science.Brian Scott Baigrie (ed.) - 1996 - University of Toronto Press.
    List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...)
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  14.  37
    Picture-Reading in Comics, Prose, and Poetry.Hannah H. Kim - forthcoming - Canadian Journal of Philosophy.
    Comic is one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Sam Cowling and Ley Cray (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I (...)
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  15. Design and syntax in pictures.Robert Hopkins - 2024 - Mind and Language 39 (3):312-329.
    Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By (...)
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  16. Narrative Pictures.Bence Nanay - 2009 - Journal of Aesthetics and Art Criticism 67 (1):119 - 129.
    This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.
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  17. Moral Psychology as Soul Picture.Francey Russell - forthcoming - The Philosophical Quarterly.
    Iris Murdoch offers a distinctive conception of moral psychology. She suggests that to develop a moral psychology is to develop what she calls a soul-picture; different philosophical moral psychologies are, as she puts it, “rival soul-pictures.” In this paper I clarify Murdoch’s generic notion of “soul-picture,” the genus of which, for example, Aristotle’s, Kant’s, Nietzsche’s, and Murdoch’s constitute rival species. Are all philosophical moral psychologies soul-pictures? If not, what are the criteria that a moral psychology must meet in (...)
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  18. The Role of Picturing In Sellars’s Practical Philosophy.Jeremy Randel Koons & Carl B. Sachs - 2022 - Journal of Philosophical Research 47:147-176.
    Picturing is a poorly understood element of Sellars’s philosophical project. We diagnose the problem with picturing as follows: on the one hand, it seems that it must be connected with action in order for it to do its job. On the other hand, the representational states of a picturing system are characterized in descriptive and seemingly static terms. How can static terms be connected with action? To solve this problem, we adopt a concept from recent work in Sellarsian metaethics: the (...)
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  19. Mental Pictures, Imagination and Emotions.Maria Magoula Adamos - 2012 - In Patricia Hanna (ed.), An Anthology of Philosophical Studies - Volume 6. Athiner. pp. 83-91.
    Although cognitivism has lost some ground recently in the philosophical circles, it is still the favorite view of many scholars of emotions. Even though I agree with cognitivism's insight that emotions typically involve some type of evaluative intentional state, I shall argue that in some cases, less epistemically committed, non-propositional evaluative states such as mental pictures can do a better job in identifying the emotion and providing its intentional object. Mental pictures have different logical features from propositions: they are representational, (...)
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  20. Pictures, Privacy, Augustine, and the Mind.Derek A. McDougall - 2008 - Journal of Philosophical Research 33:33-72.
    This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...)
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  21. Picture Theory and Complex Realities.Alyssa D'Ambrosio - manuscript
    This essay examines Ludwig Wittgenstein's 'Picture Theory' and the modes of reality presented by logical atomism. Simply this theory argues that the world can be understood by simple entities which can be broken down to substances that do not belong to anything else. This essay will illustrate that the Picture Theory cannot ultimately portray an accurate account of reality based on simples. To contrast this claim, I will use René Descartes as a means of countering my claim against (...)
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  22. Picturing words: The semantics of speech balloons.Emar Maier - 2019 - In Julian J. Schlöder, Dean McHugh & Floris Roelofsen (eds.), Proceedings of the 22nd Amsterdam Colloquium. pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
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  23. Pictures, pictorial contents and vision.Dominic Gregory - 2010 - British Journal of Aesthetics 50 (1):15-32.
    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 (...)
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  24. Pictures, Experiential Learning and Phenomenology.Matthew Crippen - 2015 - In András Benedek & Nyiri Kristof (eds.), Beyond Words – Pictures, Parables, Paradoxes. Peter Lang. pp. 83-90.
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  25. Picturing the Infinite.Jeremy Gwiazda - manuscript
    The purpose of this note is to contrast a Cantorian outlook with a non-Cantorian one and to present a picture that provides support for the latter. In particular, I suggest that: i) infinite hyperreal numbers are the (actual, determined) infinite numbers, ii) ω is merely potentially infinite, and iii) infinitesimals should not be used in the di Finetti lottery. Though most Cantorians will likely maintain a Cantorian outlook, the picture is meant to motivate the obvious nature of the (...)
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  26. Pictures and Properties.Ben Blumson - 2014 - In Resemblance and Representation: An Essay in the Philosophy of Pictures. Cambridge, UK: Open Book Publishers. pp. 179-198.
    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 (...)
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  27. Picture changes during blinks: Looking without seeing and seeing without looking.J. Kevin O'Regan, H. Deubel, James J. Clark & Ronald A. Rensink - 2000 - Visual Cognition 7:191-211.
    Observers inspected normal, high quality color displays of everyday visual scenes while their eye movements were recorded. A large display change occurred each time an eye blink occurred. Display changes could either involve "Central Interest" or "Marginal Interest" locations, as determined from descriptions obtained from independent judges in a prior pilot experiment. Visual salience, as determined by luminance, color, and position of the Central and Marginal interest changes were equalized. -/- The results obtained were very similar to those obtained in (...)
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  28. The Anthropological Function of Pictures.Joerg R. J. Schirra & Klaus Sachs-Hombach - 2013 - In Klaus SachsHombach & Joerg R. J. Schirra (eds.), Origins of Pictures Anthropological Discourses in Image. Halem. pp. 132-159.
    There has been a long tradition of characterizing man as the animal that is capable of propositional language. However, the remarkable ability of using pictures also only belongs to human beings. Both faculties however depend conceptually on the ability to refer to absent situations by means of sign acts called 'context building'. The paper investigates the combined roles of quasi-pictorial sign acts and proto-assertive sign acts in the situation of initial context building, which, in the context of “concept-genetic” considerations, aims (...)
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  29. Twisted Pictures: morality, nihilism and symbolic suicide in the Saw series.Steve Jones - 2013 - In James Aston & John Walliss (eds.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. McFarland. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  30. Emojis as Pictures.Emar Maier - 2023 - Ergo: An Open Access Journal of Philosophy 10.
    I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) I (...)
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  31. Logical Relations between Pictures.Jan Westerhoff - 2005 - Journal of Philosophy 102 (12):603-623.
    An implication relation between pictures is defined, it is then shown how conjunctions, disjunctions, negations, and hypotheticals of pictures can be formed on the basis of this. It is argued that these logical operations on pictures correspond to natural cognitive operations employed when thinking about pictures.
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  32. Picturing Justice.Kyle Johannsen - 2017 - Contemporary Political Theory 16 (3):387-93.
    This essay reviews two books by Rainer Forst: "The Right to Justification: Elements of a Constructivist Theory of Justice"; and "Justice, Democracy and the Right to Justification: Rainer Forst in Dialogue".
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  33. In defense of picturing; Sellars’s philosophy of mind and cognitive neuroscience.Carl B. Sachs - 2019 - Phenomenology and the Cognitive Sciences 18 (4):669-689.
    I argue that Sellars’s distinction between signifying and picturing should be taken seriously by philosophers of mind, language, and cognition. I begin with interpretations of key Sellarsian texts in order to show that picturing is best understood as a theory of non-linguistic cognitive representations through which animals navigate their environments. This is distinct from the kind of discursive cognition that Sellars called ‘signifying’ and which is best understood in terms of socio-linguistic inferences. I argue that picturing is required because reflection (...)
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  34. 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: 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 (...)
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  35. “Picturing the Mind: Freud on Metapsychology and Methodology.” Die Seele abbilden. Über Freuds Methodologie und Metapsychologie.Francey Russell - 2022 - WestEnd. Neue Zeitschrift für Sozialforschung 1.
    [please see my website for the English language version] What is the relationship between a philosophical or theoretical conception of mind, and the mind’s conception of itself? Should the latter constrain the former? And how does the mind itself understand a theory of mind, that is, a theory of itself? I raise these questions by means of Freud. Freud suggested that the mind cannot merely theoretically comprehend psychoanalytic concepts but must be able to “recognize” and “sympathize” with them. I call (...)
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  36. Back to the big picture.Anna Alexandrova, Robert Northcott & Jack Wright - 2021 - Journal of Economic Methodology 28 (1):54-59.
    We distinguish between two different strategies in methodology of economics. The big picture strategy, dominant in the twentieth century, ascribed to economics a unified method and evaluated this m...
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  37. The Picture Theory of Disability.Firth Steven J. - 2016 - Dissertation, University of Lethbridge
    This thesis argues that the nature of disability is, currently, fundamentally misunderstood. Current approaches to disability are nounal and seek to determine the locus of disability with the intention of better understanding the phenomenon of disability. In contrast, this thesis offers an adverbial perspective on disability and shows how disability is experienced as an increased and personally irremediable impediment to daily-living tasks or broader goals. This thesis holds that impediment is not a function of either biological individuality or the Social, (...)
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  38. Inflected and uninflected perception of pictures.Bence Nanay - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford, GB: 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 (...)
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  39. Wittgenstein's picture theory in the linguistic Copenhagen interpretation of dualistic idealism.Ishikawa Shiro -
    Recently, we have proposed quantum language ( or the linguistic Copenhagen interpretation of quantum mechanics). Quantum languages describe both classical and quantum systems and therefore have great power to solve almost all philosophical problems. Thus, we believe that quantum language can be regarded as the language of science. Therefore, it makes sense to study Wittgenstein's picture theory within the framework of quantum language, since Wittgenstein's language (i.e., the language that he supposed, but didn't define in his book "Tractatus Logico-Philosophicus") (...)
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  40. 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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  41. The conflicted character of picture perception.Boyd Millar - 2006 - Journal of Aesthetics and Art Criticism 64 (4):471–477.
    It is often assumed that there is a perceptual conflict in looking at a picture since one sees both a two-dimensional surface and a three-dimensional scene simultaneously. In this paper, I argue that it is a mistake to think that looking at pictures requires the visual system to perform the special task of reconciling inconsistent impressions of space, or competing information from different depth cues. To the contrary, I suggest that there are good reasons to think that the perception (...)
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  42. The Spectator in the Picture.Robert Hopkins - 2001 - In Rob van Gerwen (ed.), Richard Wollheim on the art of painting: art as representation and expression. Cambridge: Cambridge University Press. pp. 215-231.
    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 (...)
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  43. Reasoning: A Social Picture. By Anthony Simon Laden.Adam Morton - 2013 - Philosophical Quarterly 63 (253):843-846.
    review of Laden's *Reasoning: a social picture* praising the aim and expressing puzzlement at the details,.
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  44. Picturing Mind Machines, An Adaptation by Janneke van Leeuwen.Simon van Rysewyk & Janneke van Leeuwen - 2014 - In Simon Peter van Rysewyk & Matthijs Pontier (eds.), Machine Medical Ethics. Springer.
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  45. Trompe l’oeil and the Dorsal/Ventral Account of Picture Perception.Bence Nanay - 2015 - Review of Philosophy and Psychology 6 (1):181-197.
    While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological (...)
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  46. Picturing the universe: Adventures with Miura Baien at the borderland of philosophy and science.Rosemary Mercer - 1998 - Philosophy East and West 48 (3):478-502.
    The Japanese scholar Miura Baien (1723-1789) worked throughout his life to produce a philosophical analysis of the natural world. Misinterpretations of his intentions arise from drawing diagrams on his behalf that are inconsistent with his text, or by applying to his text Western academic terms that are quite foreign to his thought. When Baien's text is examined in his own terms we can understand its significant role in the scientific thought of the Edo period.
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  47. Metaphysical Explanation: The Kitcher Picture.Sam Baron & James Norton - 2021 - Erkenntnis 86 (1):187-207.
    This paper offers a new account of metaphysical explanation. The account is modelled on Kitcher’s unificationist approach to scientific explanation. We begin, in Sect. 2, by briefly introducing the notion of metaphysical explanation and outlining the target of analysis. After that, we introduce a unificationist account of metaphysical explanation before arguing that such an account is capable of capturing four core features of metaphysical explanations: irreflexivity, non-monotonicity, asymmetry and relevance. Since the unificationist theory of metaphysical explanation inherits irreflexivity and non-monotonicity (...)
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  48. Women's Pictures: Feminism and Cinema.Annette Kuhn - 1982 - Routledge.
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  49. Electromagnetic and Gravitational Pictures of the World.Sergey G. Fedosin - 2007 - Apeiron 14 (4):385-413.
    The review of the theory of electromagnetic field together with the special and general theories of relativity has been made. The similar theory of gravitation has been presented which has the property of Lorentz-invariancy in its own representation in which the information is transferred at the speed of propagation of the gravitational field. Generalization of the specified gravitation theory on noninertial reference systems has been made with the help of the mathematical apparatus of the general relativity. It allows to avoid (...)
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  50.  82
    The puzzle of make-believe about pictures: can one imagine a perception to be different?Sonia Sedivy - 2021 - In Art, Representation, and Make-Believe: Essays on the Philosophy of Kendall L. Walton. New York: Routledge. pp. 147-163.
    Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of (...)
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