Richard Wollheim threatened George Dickie's institutional definition of art with a dilemma which entailed that the theory is either redundant or incomprehensible and useless. This article modifies the definition to avoid such criticism. First, it shows that the definition's concept of the artworld is not vague when understood as a conventional system of beliefs and practices. Then, based on Gaut's cluster theory, it provides an account of reasons artworld members have to confer the status of a candidate for appreciation. (...) An authorised member of an artworld has a good reason to confer the status on an object if it satisfies a subset of criteria respected as sufficient within this artworld. The first horn of the dilemma is averted because explaining the reasons behind conferral cannot eliminate references to the institution, and the second loses its sharpness, as accepting partial arbitrariness of the conferral does not deprive the theory of its explanatory power. (shrink)

The aim of this paper is to reconstruct Geiger’s realist and Wollheim’s projectionist accounts on expressive properties and expressive perception by considering them within the larger contexts from which they emerged, by using as far as possible a common language and by focusing on the questions of the nature of expressive properties and of how we grasp them. My aim is to show that it is possible to put into dialogue phenomenological and Anglo-American aesthetics and that this dialogue might (...) lead to new insights about how we engage with art. (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)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, (...) individuals and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...) bewilderment can figure positively in art appreciation, drawing on Richard Wollheim’s argument—developed in engaging Sigmund Freud’s essays on art—that posing obstacles to our understanding can actually contribute considerably to art’s effect: it prolongs and intensifies our engagement with the work. Riegl’s observation that some historically distant artworks have an especially strong effect is thus explained in terms of their anachronism: the effect is caused by the difficulties experienced in making sense of their contemporary look and their distant origin. (shrink)

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

Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...) better off? The film uses the failures of Leonard’s system to raise doubts about the effectiveness of our own psychological capacities for grasping the past. However, memory does more than allow us to retain information. As Richard Wollheim showed, it also enables the past to control our present, by perpetuating, while modifying, its affective hold over us. This is something wholly denied Leonard. By implicitly contrasting his position with ours in this respect, the film also explores this second role that memory plays in our lives. (shrink)

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

The purpose of this paper is to illustrate, formally, an ambiguity in the exercise of political influence. To wit: A voter might exert influence with an eye toward maximizing the probability that the political system (1) obtains the correct (e.g. just) outcome, or (2) obtains the outcome that he judges to be correct (just). And these are two very different things. A variant of Condorcet's Jury Theorem which incorporates the effect of influence on group competence and interdependence is developed. Analytic (...) and numerical results are obtained, the most important of which is that it is never optimal--from the point-of-view of collective accuracy--for a voter to exert influence without limit. He ought to either refrain from influencing other voters or else exert a finite amount of influence, depending on circumstance. Philosophical lessons are drawn from the model, to include a solution to Wollheim's "Paradox in the Theory of Democracy". (shrink)

In this paper I will try to trace a discussion about status of art in some recent theories, which pay special attention to the fact that artworks are the kind of things to which representational, expressive, and aesthetic properties are ascribed. First, I will briefly mention some already established criticisms—developed by Richard Wollheim1—against the idea that artworks cannot be identified with physical objects. These criticisms have the further aim of providing an account of art experience that includes our perceiving representational (...) and expressive properties as well as aesthetic ones in artworks. In Wollheim's view, a misconstruction of the nature of these properties and of our perception of them in artworks has been the main reason for the view he intensely criticizes. Thus, he offers a different understanding of these properties, which also involves a new account of perception that does not require an idealisation of our experience of art. (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)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by (...) the picture. Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments of (...) aesthetic value are the means as opposed to the other way around. (shrink)

I agree that Wollheim is wrong in his reconstruction of Bradley's arguments on Subject-Predicate judgements, but not completely. Wollheim is right about the conclusion of Bradley's arguments. I argue that Bradley does not reject subject-predicate form of judgements rather he attack's the idea that there is some judgement in which the subject is the nude reality.

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: the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

In seeing a tilted penny, we are experientially aware of both its circularity and another shape, which I dub ‘β‐ellipticality’. Some claim that our experiential awareness of the intrinsic shapes/sizes of everyday objects depends upon our experiential awareness of β‐shapes/β‐sizes. In contrast, I maintain that β‐property experiences are the result of what Richard Wollheim calls ‘seeing‐in’, but run in reverse: instead of seeing a three‐dimensional object in a flat surface, we see a flat surface in a three‐dimensional object. Using (...) this new account, I re‐examine the phenomenological directness of visual experience and undermine an argument for skepticism about β‐property experiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

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.

Talking about “being another person”, many different things may be meant. I make use of Wollheim’s distinction between three different modes of imagination and invoke four different kinds of possible content of what may be imagined. In effect, I aim at a hopefully complete overview of the possible imaginative projects of “imagining being another person”. I try to keep an eye on the role of numerical identity in each case.

Michael Dummett says in the preface to his book on Frege that he is always disappointed when a book lacks a preface. ‘it is like arriving at someone’s house for dinner’ Dummett says ‘and being conducted straight into the dining room’. I feel the same way about inaugural lectures. To give an inaugural lecture is in part an acknowledgement of a professional honour, and in part an opportunity to pay a personal tribute to the institution which has honoured you in (...) this way. It is not difficult, and a pleasant task, to do this. My professorship has no predecessor, of course, but I hope that this does not disqualify me from saying something about what I owe to UCL and to its philosophy department. The intellectual character of the department as it is now was largely shaped by the influence of the late Richard Wollheim. I am sorry to say that I did not know Richard Wollheim well, and it is a cause of great sadness for the whole department that Richard was never able to return to the department as he had planned to do before he died last autumn. But I nonetheless feel the influence he left in the department, and I would like to pay a small tribute to it here. (shrink)

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning (...) this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature. (shrink)

In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...) of the gaze to a theory of the image, the paper shall subsequently discuss three modes of iconic vision: the propositional seeing-as, the projective seeing-in and the medial seeing-with. (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)

On various occasions, Kendall Walton has put forward a theory of depiction based on the notion of make-believe: P depicts something only if in virtue of having a perception of P, one makes believe that that very experience is the perception of P’s subject. As a consequence, if an individual is not able to make believe, whatever they face in their perception does not count as a depiction for her. Yet there are many evidences from developmental psychology that show that (...) very little children still unable to make believe can grasp a picture’s figurative value. As a result, Walton’s theory of depiction seems to be inadequate from an empirical point of view. Moreover, it also appears to be inadequate from a conceptual point of view. Walton’s ambition is to account in pretence-theoretical terms of what the twofold experience of seeing-in, which Wollheim took to be a necessary condition of depiction, amounts to. Yet relying on make-believe, hence on imagination, does not account for the genuinely perceptual character of the “seeing-in” experience. No treatment of imagination in terms of visualization seems to achieve such a purpose. (shrink)

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)

Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative arts (...) and entertainment remains steady and even increases during a recession because of the relief and escapism that the arts provide. Tax incentives and production rights are often given to filmmakers in the United States; in hopes that such projects will enliven a local economy and provide work for a local creative community. In the context of recent austerity measures in Greece and Spain, new and creative ways for members of the arts community to bring about new projects, and fund them in ways that critique political leadership, have emerged. Following Richard Wollheim’s classic aesthetic theory of “criticism as retrieval,” we should be mindful of the cultural values that are at stake in the creativity-culture market now being created. In any case, some scholars estimate that austerity measures in many countries will last until 2020, giving us ample opportunity to be even more “creative” with both financial incentives and artistic achievements. Keywords: Austerity, Cultural Economy, Creative Class, Tax Incentives, Aesthetics, Microtheatres, Entertainment. (shrink)

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

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)

Aesthics: Art and moral attuning. Art can help us understand everyday moral deliberation. Better perhaps than ethics. People don’t just act randomly in moral situations nor do they argue internally about which ethical principle to follow before deciding what to do. We built our moral sensitivity whilst living our lives, adhering to aesthetic norms of interaction. Regular engagement with works of art educates our moral sensitivity.