The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is (...) not a defining feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

The present article aims to make good on Roland Barthe’s unfulfilled promise to provide an eidetic phenomenology for the photograph. Though the matter deserves consideration simply because no relevant account has yet been provided, the consequences of adumbrating eight eidetic features, we hope to show, bear directly on the phenomenology of time, the possibility of technological events, and the status of truth as what Heidegger called alētheia . Finally, and most importantly for the enterprise of phenomenological reflection, if we are (...) successful in this endeavor, we shall have established a new way to use eidetic phenomenologies: not for Husserl’s original aim of executing a rigorous science, but in a more Derridian spirit as a way to destabilize consensus. (shrink)

This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...) why the author’s position as the creator of the image is being challenged. Hence, there is also a much wider problem, the impact of technology on a person. Therefore, the purpose of this article is to show that photography as a kind of visual art is not directly a product of human creative activity. Nevertheless, as a technical product, it tends to anonymity when the question of authorship is simply decreasing. Although each image, as a human creation, has its author, in the photography the author becomes the background. We agree with Flusser that it is worthwhile to distinguish between the functionary and the photographer as candidates for the role of the author in the photographic process; but in the process of contemplating the photographs, the name of the author of the photographical image, regardless of his or her claims, is ignored, because the photography, retaining the function of objective documentation, captures any events without any interest. It is also completely dependent on technology; claiming not only for the mediation but also for the "authorship", it introduces the mode of anonymity and accidental fixation of events. The image is deprived of subjective features and the need to have an author. One can say that in any case the photographer falls into the "shadow" created by the device. The author "dies", giving the life to the photography, and dissolves in the technicality of the image. (shrink)

Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...) but as the breach of their right to shame which is required for the photo to acquire iconicity. Examples are addressed, as well as the contrast classes of the self-portrait and Byzantine icons. (shrink)

Everyday (mis)uses of deepfakes define prevailing conceptualizations of what they are and the moral stakes in their deployment. But one complication in understanding deepfakes is that they are not photographic yet nonetheless manipulate lens-based recordings with the intent of mimicking photographs. The harmfulness of deepfakes, moreover, significantly depends on their potential to be mistaken for photographs and on the belief that photographs capture actual events, a tenet known as the transparency thesis, which scholars have somewhat ironically attacked by citing (...) digital imaging techniques as counterexamples. Combining these positions, this paper sets out two core points: (1) that conceptions about the nature of photography introduce imperatives about its uses; and (2) that popular cultural understandings of photography imply normative ideas that infuse our encounters with deepfakes. Within this, I further raise the question of what moral ground deepfakes occupy that allows them to have such a potentially devastating effect. I show that answering this question involves reinstating the notion that photographs are popularly conceived of as transparent. The rejoinder to this argument, however, is that to take the sting out of deepfakes we must, once again, become skeptical of the veracity of all images, including photoreal ones. This kind of critical mindedness was warranted before the invention of photography for both pictorial imprints and written accounts from various media sources. Given this, along with the fact that photographic trickery is nothing new, deepfakes need not push us into a post-truth epistemic abyss, for they imply a decidedly old turn. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...) question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)

In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical (...) function in referring to a specific event. In fact, the boundary between referential use and symbolic-exemplificative use is not always clear-cut, and it often becomes the subject of ideological dispute. The main point that this paper would like to do is that in some circumstances there is a deep-seated belief that images that are clearly misattributed could still be legitimately used to refer to the fact, even if this is not the case. This twisted epistemological stance, that I will summarize under the oxymoronic concept of “emblematic evidence”, is both the product of political and tribal polarization in the ideological debate, and the result of a shift in our understanding of what photographic images should do. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and (...) as ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

A single-blind experiment was conducted on free-responsive spatially non-local perception of free-selective simple photographic targets. One author (the tasker) chose a photographic target not subjected to a priori compiling, and the other author (the perceiver) attempted to unconventionally perceive the target. Feedback was expected prior to a new target being selected. A hundred trials were completed over 11 months. Thirteen judges offered gradings that collectively projected an apparent information requisition yield (AIRY). The AIRY refers to two aspects of (...) the matching of a taskette (a target’s counterpart) with respect to the target based on fuzzy scales from 0% to 100%, graded with an increment of 10%. The type-I or “tangibility” aspect of matching assessed the extent of the resemblance of a taskette to the target in terms of the shape or structural details of the primary physical entity/event. The type-II or “intangibility” aspect of the matching assessed the degree of the reconstruction of a taskette to the target in terms of the feature or functionality of the predominant physical entity/event. A total of 6 taskettes received >50% grades in both type-I and type-II aspects of matching with their respective targets. This outcome may correspond to an effect size of 1.47 if the chance-expectation may give a benchmark proportion of 3 out of 100 trials producing >50% grades in both type-I and type-II aspects of matching. Patterns indicating target interference associated with two trials entail further investigation. The approaches offer new insights to quantifying the band-limited information throughputs of spatially non-local perception. (shrink)

Attacks on migrant and refugee entrepreneurs and their properties by South African rivals and ordinary citizens have become a common phenomenon throughout the country, including the city of Cape Town. Business robberies often result in deaths or serious injuries. The Somali Community Board has noted that over 400 Somali refugees, many of them informal traders, were murdered in South Africa between early 2002 and mid-2010. The police are frequently accused by migrants of fomenting or turning a blind eye to xenophobic (...) attacks on their businesses. Meanwhile, the government refuses to acknowledge the existence of xenophobia or the xenophobic rhetoric in many of these attacks, claiming instead that they are simply the actions of criminal elements. Photographs published in the media of the looting of migrant stores do not tend to feature hardened criminals, but ordinary citizens including children in school uniform. -/- Migrant businesses are portrayed by officials, citizens and the media as having a negative impact on the South African economy and undermining the livelihoods of South Africans. The prevalence of such perceptions helps to explain growing xenophobic sentiment against migrants and refugees. Contrary to these popular perceptions, an emerging literature on migrant entrepreneurship is beginning to demonstrate the positive economic contributions of migrants and refugees to the country. This report examines the nature of informal migrant and refugee entrepreneurship in Cape Town and whether or not the negative stereotypes have any validity. It also seeks to examine what economic contributions migrants and refugees make to the local economy. -/- The report is based on the research conducted by the Growing Informal Cities project, a partnership between SAMP/IMRC, the African Centre for Cities at the University of Cape Town, the Gauteng City-Region Observatory (GCRO) and Eduardo Mondlane University in Maputo. A questionnaire was administered to a sample of 518 migrant owners of microenterprises, which had to meet three basic criteria for inclusion: (a) owned by a non-South African; (b) in operation for at least two years; and (c) unregistered with the South African Revenue Services (SARS). Although migrant entrepreneurs are located in most areas of the city, certain areas have particular concentrations of migrant-owned businesses. "e questionnaires were administered in four such areas: Imizamo Yethu, Philippi, Bellville, and Cape Town CBD. Thirty in-depth interviews were also conducted with selected owners of informal micro-enterprises. Two focus group discussions were held in the Cape Town CBD and Philippi respectively. Fifteen key informant interviews were held with various stakeholders in Cape Town to understand the operation and constraints faced by migrants operating in the city’s informal economy. -/- The major findings of the personal profile of the migrant and refugee entrepreneurs were as follows: -/- • The entrepreneurs came from over 20 different countries of which Zimbabwe, Somalia, the Democratic Republic of the Congo (DRC), Nigeria, Malawi, Ethiopia and Cameroon were the most prominent. Just over a third were from other countries in the SADC. The prominence of Zimbabwean entrepreneurs in the Cape Town informal economy is not surprising, given the events in that country over the past decade and a half and resultant mass migration to South Africa. A total of 57% of the entrepreneurs were from other African countries, especially the DRC, Somalia, Nigeria and Ethiopia. "e majority of migrants from these countries (except Nigeria) came to South Africa as refugees. -/- • A third of the entrepreneurs had refugee permits. Of these, nearly 60% came from only three countries: the DRC, Ethiopia and Somalia. A further 31% held asylum-seeker permits. Of these, 32% were Zimbabwean while another 30% came from DRC, Ethiopia and Somalia. Nearly 12% had permanent residence permits while 8% were holders of work permits. Only 7% of the respondents indicated that they did not have official documentation to stay in South Africa. Thus, the majority of migrant entrepreneurs have forced migrants who are entitled to human rights protection under international and South African refugee law. • Very few of the entrepreneurs entered South Africa before 1994. Only 8% arrived in the immediate post-apartheid years. While another 20% came in the period 2000to 2004, the vast majority (70%) came during the last decade. As many as 44% arrived between 2005 and 2009 and a further 27% thereafter. Migration from Zimbabwe, in particular, escalated between 2005 and 2009 as the country plunged deeper into crisis. • Despite the perception that unemployment at home is a driver of migration to South Africa, only 14% of the entrepreneurs were unemployed immediately before leaving for South Africa. Another 19% were students. Twenty-six percent were working in the informal economy in their home countries. -/- .......INCOMPLETE..... (shrink)

Construction of self and group often incorporates the use of objects associated with "expression," including videos, films, and photographs. In this article, I describe four different sites for construction of groups (group portraiture, courtrooms, video-assisted group therapy, and videoconferencing). I discuss potential aspects of shifts in the way we use and talk about media on what it is like to participate in a group. The eras of video, film, and photography as "silent witnesses" to group interaction are gradually passing. For (...) example, technology that enables the digital retouching of photographs has afforded means for enhancing or dramatically altering photographic images. Those who employ these media as epistemological companions, supplementing their vision and memories of various events and interactions, are increasingly doing so from a critical (and somewhat cautious) perspective.. (shrink)

For the metaphysician, photographs are very puzzling entities indeed. And even from the non-philosopher's intuitive point of view, it is not that clear what sort of thing a photograph is. Typically, if a client wants to purchase a photograph, she can mean very different things by 'buying a photograph' : she can mean to buy a print or a number of prints, or she can mean to buy a negative (when traditional film photographs are concerned) or a file (when digital (...) photography is concerned), or she can mean to buy a right to use a photograph a precisely determined number of times in a number of brochures or on a website, and so on. When facing a new client, I always, without exception, face the problem of explaining to her what it is that she is actually buying – and it is not always clear that she is ever buying a photograph. As a metaphysician, I face a much more difficult challenge : find out to what ontological category photographs belong to. Are they concrete spatio-temporal entities like prints, are they universals since there can be many 'prints-instances' of a same photograph, are they sets or aggregates of prints, or something even different ? This is the task that I wish to undertake in this paper : examine all plausible metaphysical categories to which photographs could belong to, and see which one is the fittest. As we shall see, in this 'survival for the fittest' competition between traditional metaphysical categories, there will be no real winner : several categories will reveal themselves to be enlightening and useful when describing features of what photographs are, but none will prove to be entirely satisfactory. Photographs, it seems, are a sort of borderline entities that share some but not all aspects of several traditional metaphysical categories. Is it then justified to postulate a new ontological category to which photographs would properly belong ? On mainly methodological grounds, I shall argue that it is not, and I will suggest a different way out of this metaphysician's trouble by defending a nihilism about photographs. To put it bluntly, I will defend the claim that photographs do not exist – but I will also argue that this is not a very revisionary or anti-commonsensical claim. (shrink)

The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control (...) and guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)

In a recent article, Dawn Wilson (2021) has argued against single-stage accounts of photography by arguing against the latent photographic images upon which those accounts depend. Concomitantly, she argues that the only viable account of photography is multi-stage. Unlike single-stage accounts, multi-stage accounts do not postulate the existence of photographic images of any kind prior to development. Rather, according to multi-stage accounts, photographs are produced from “photographic registers.” In this Discussion Piece, I defend single-stage accounts by arguing (...) that Wilson’s rejection of latent photographic images is premised on an implausible view of what a latent photographic image is. Given a reasonable interpretation, the latent images described in single-stage accounts just are the photographic registers described in multi-stage accounts. (shrink)

A “conceptual spaces” approach is used to formalize Aristotle’s main intuitions about time and change, and other ideas about temporal points of view. That approach has been used in earlier studies about points of view. Properties of entities are represented by locations in multidimensional conceptual spaces; and concepts of entities are identified with subsets or regions of conceptual spaces. The dimensions of the spaces, called “determinables”, are qualities in a very general sense. A temporal element is introduced by adding a (...) time variable to state functions that map entities into conceptual spaces. That way, states may have some permanency or stability around time instances. Following Aristotle’s intuitions, changes and events will not be necessarily instant phenomena, instead they could be processual and interval dependent. Change is defined relatively to the interval during which the change is taking place. Time intervals themselves are taken to represent points of view. To have a point of view is to look at the world as it is in the selected interval. Many important concepts are relativized to intervals, for instance change, events, identity, ontology, potentiality, etc. The definition of points of view as intervals allows to compare points of view in relation to all these concepts. The conceptual space approach has an immediate semantic and structural character, but it is tempting to develop also logics to describe them. A formal language is introduced to show how this could be done. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print (...) ontology, the most plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

I argue that miscarriage, referred to by poet Susan Stewart as “the event that was nothing,” is a liminal event along four distinct and inter-related dimensions: parenthood, procreation, death, and induced abortion. It is because of this liminality that miscarriage has been both poorly addressed in our society, and enrolled in larger debates over women's reproduction and responsibility for reproduction, both conceptually and legally. If miscarriage’s liminality were better understood, if miscarriage itself were better theorized, perhaps it would (...) not so easily be enrolled in these other debates to the detriment of women who miscarry, and their families. However, its very liminality and the fact that it is enrolled in these debates sheds light on the complicated network of concepts within which miscarriage lies. (OPEN ACCESS AT URL). (shrink)

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

Merely rhetorically, and answering in the negative, Kendall Walton has asked: "Isn't photography just another method people have of making pictures, one that merely uses different tools and materials – cameras, photosensitive paper, darkroom equipment, rather than canvas, paint, and brushes? And don't the results differ only contingently and in degree, not fundamentally, from pictures of other kinds?" Contra Walton and others, I wish to defend in this article a resounding "Yes" as being the correct answer to these questions. It (...) is a widely shared view that photographs are somehow special and that they fundamentally differ from hand-made pictures like paintings, both from a phenomenological point of view (in the way we experience them), and an epistemic point of view (since they are supposed to have a different – greater – epistemic value than paintings, giving us a privileged access to the world). In what follows, I shall reject almost the totality of these claims, and as a consequence there will remain little difference left between photographs and paintings. As we shall see, 'photographs are always partly paintings' – a claim that is true not only of retouched digital photographs but of all photographs, including traditional ones made using photosensitive film and development techniques. (shrink)

Scientists use visualisations of different kinds in a variety of ways in their scientific work. In the following article, we will take a closer look at the use of photographic pictures as scientific evidence. In accordance with Patrick Maynard’s thesis, photography will be regarded as a family of technologies serving different purposes in divergent contexts. One of these is its ability to detect certain phenomena. Nonetheless, with regard to the philosophical thesis of theory-ladenness of observation, we encounter certain reservations (...) concerning the status of photography and that of photographic pictures in the process of measurement in science. Accordingly, the aim of this paper is twofold: We will discuss suggested solutions both for the technological and for the psychological part of the problem of theory-ladenness appearing in the context of the use of photography in scientific observations. The essential proposal will be to follow Christian Suhm in his advice to make a distinction between theory-relativity and theory-ladenness. (shrink)

This monograph investigates the temporal interpretation of narrative discourse in two parts. The theme of the first part is narrative progression. It begins with a case study of the adverb ‘now’ and its interaction with the meaning of tense. The case study motivates an ontological distinction between events, states and times and proposes that ‘now’ seeks a prominent state that holds throughout the time described by the tense. Building on prior research, prominence is shown to be influenced by principles of (...) discourse coherence and two coherence principles, NARRATION and RESULT, are given a formally explicit characterization. The key innovation is a new method for testing the definitional adequacy of NARRATION and RESULT, namely by an abductive argument. This contribution opens a new way of thinking about how eventive and stative descriptions contribute to the perceived narrative progression in a discourse. -/- The theme of the second part of the monograph is the semantics and pragmatics of tense. A key innovation is that the present and past tenses are treated as scalar alternatives, a view that is motivated by adopting a particular hypothesis concerning stative predication. The proposed analysis accounts for tense in both matrix clauses and in complements of propositional attitudes, where the notorious double access reading arises. This reading is explored as part of a corpus study that provides a glimpse of how tense semantics interacts with Gricean principles and at-issueness. Several cross-linguistic predictions of the analysis are considered, including their consequences for the Sequence of Tense phenomenon and the Upper Limit Constraint. Finally, a hypothesis is provided about how tense meanings compose with temporal adverbs and verb phrases. Two influential analysis of viewpoint aspect are then compared in light of the hypothesis. (shrink)

In the first part of the paper I argue that an ontology of events is precise, flexible and general enough so as to cover the three main alternative formulations of quantum mechanics as well as theories advocating an antirealistic view of the wave function. Since these formulations advocate a primitive ontology of entities living in four-dimensional spacetime, they are good candidates to connect that quantum image with the manifest image of the world. However, to the extent that some form of (...) realism about the wave function is also necessary, one needs to endorse also the idea that the wave function refers to some kind of power. In the second part, I discuss some difficulties raised by the recent proposal that in Bohmian mechanics this power is holistically possessed by all the particles in the universe. (shrink)

A common view in the philosophy of perception holds that states of seeing objects face to face have particular contents. When you see, say, a dog face to face, your visual state represents the particular dog that is in front of you. In this paper, I argue for a related claim about states of seeing objects in conventional photographs. When you see a dog in a photograph, for example, your visual state represents the particular dog that was in front of (...) the camera when the photograph was taken, that is, the photograph's depictum. The argument in this paper proceeds in two steps. In the first step, I discuss states of seeing objects face to face. I argue that such a state represents the particular object whose surface is responsible for the optical information that the visual system uses to construct the state's attributive representational content. In the second step, I apply the result of this discussion to states of seeing objects in photographs. I argue that a state of seeing an object in a photograph has a particular content that represents the object that was in front of the camera when the photograph was taken. (shrink)

Most event-referring expressions are vague; it is utterly difficult, if not impossible, to specify the exact spatiotemporal location of an event from the words that we use to refer to it. We argue that in spite of certain prima facie obstacles, such vagueness can be given a purely semantic (broadly supervaluational) account.

We present in this paper a novel ontological theory of events whose central tenet is the Aristotelian distinction between the object that changes and the actual subject of change, which is what we call an individual quality. While in the Kimian tradition events are individuated by a triple ⟨ o, P, t ⟩, where o is an object, P a property, and t an interval of time, for us the simplest events are qualitative changes, individuated by a triple ⟨ o, (...) q, t ⟩, where q is an individual quality inhering in o or in one of its parts. Detaching the individuation of events from the property they exemplify results in a fine-grained theory that keeps metaphysics and semantics clearly separate, and lies between the multiplicative and the unitarian approaches. We discuss then the way language refers to events, observing that, in most cases, event descriptions refer to complex, cognitively relevant clusters of co-occurring qualitative changes, which exhibit a synchronic structure depending on the way they are described. Contra Bennett, who famously argued that the semantics of event names ultimately depends on “local context and unprincipled intuitions”, we show how the lexicon provides systematic principles for individuating such clusters and classifying them into kinds. Finally, we address some open challenges in the semantics of locative and manner modifiers. (shrink)

Whether non-human animals can have episodic memories remains the subject of extensive debate. A number of prominent memory researchers defend the view that animals do not have the same kind of episodic memory as humans do, whereas others argue that some animals have episodic-like memory—i.e., they can remember what, where and when an event happened. Defining what constitutes episodic memory has proven to be difficult. In this paper, I propose a dual systems account and provide evidence for a distinction (...) between event memory and episodic memory. Event memory is a perceptual system that evolved to support adaptive short-term goal processing, whereas episodic memory is based on narratives, which bind event memories into a retrievable whole that is temporally and causally organized around subject’s goals. I argue that carefully distinguishing event memory from episodic memory can help resolve the debate. (shrink)

This chapter analyzes the concept of an event and of event representation as an umbrella notion. It provides an overview of different ways events have been dealt with in philosophy, linguistics, and cognitive science. This variety of positions has been construed in part as the result of different descriptive and explanatory projects. It is argued that various types of notions — common-sense, theoretically revised, scientific, and internalist psychological — be kept apart.

This paper argues that a counterpart-theoretic treatment of events, combined with a counterfactual theory of causation, can help resolve three puzzles from the causation literature. First, CCT traces the apparent contextual shifts in our causal attributions to shifts in the counterpart relation which obtains in those contexts. Second, being sensitive to shifts in the counterpart relation can help diagnose what goes wrong in certain prominent examples where the transitivity of causation appears to fail. Third, CCT can help us resurrect the (...) much-maligned fragility response to the problems of late pre-emption by understanding fragility in counterpart-theoretic terms. Some reasons to prefer this CCT approach to rivals are discussed. (shrink)

Violence is signaled by a mark of discontinuity, interruption, rupture. The tripartite temporality of violence, with its strong focus on the present, points to the originary violence. Moreover, the violent event is structuring the order of the action sequences in an actual violent (embodied) interaction. The interactional dynamics in violent encounters between co-present actors shapes the specific forms of the experiencing in (and of) the violent interaction. Based on how violence is experienced in an interactive situation, the phenomenon of (...) violence articulates itself according to three coordinates: directedness, co-performativity and de-capabilisation. The outlining of the structure of the lived experience of violence is revealing something irreducible in it. To understand the experience of violence as such, I propose that we accept the idea of violence per se and depart from the idea that the acts of violence are essentially moral actions. The core of the ethical-moral discussion concerning violence should be grounded instead on the moment of conversion identifiable when we take into account the reaction to violence. (shrink)

A critical review of the main themes arising out of recent literature on the semantics of ordinary event talk. The material is organized in four sections: (i) the nature of events, with emphasis on the opposition between events as particulars and events as universals; (ii) identity and indeterminacy, with emphasis on the unifier/multiplier controversy; (iii) events and logical form, with emphasis on Davidson’s treatment of the form of action sentences; (iv) linguistic applications, with emphasis on issues concerning aspectual phenomena, (...) the telicity/atelicity distinction, the treatment of statives, and temporal quantification. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

The semantics of our event talk is a complex affair. What is it that we are talking about when we speak of Brutus’s stabbing of Caesar? Exactly where and when did it take place? Was it the same event as the killing of Caesar? Some take questions such as these to be metaphysical questions. I think they are questions of semantics—questions about the way we talk and about what we mean. And I think that this conflict between metaphysic (...) and semantic concerns is indicative of a “deep indeterminacy” (Bennett’s phrase) in our event concept. We do talk about events; but what events a statement is about is not something that can be inferred from the event names we use; it depends heavily (more heavily than with ordinary material objects) on local context and unprincipled intuitions. This paper illustrates this view in connection with two examples: the phenomenon of vagueness and the dispute over identity statements. (shrink)

This Discussion Piece is a response to Mark Windsor's Discussion Piece (2023) 'Photographic Registers are Latent Images', which is a response to my article, (2021) 'Invisible Images and Indeterminacy: Why we need a Multi-stage Account of Photography' JAAC 79(2) 161-174.. -/- I argue that a photosensitive surface does not produce invisible pictorial features when it is exposed to light, and conclude, contra Windsor, that a photographic register is not a latent image. I argue that Windsor does not succeed (...) in defending a single-stage account of photography and I reconfirm that a multi-stage account is correct. (shrink)

Event-causal libertarians maintain that an agent’s settling of whether certain states-of-affairs obtain on a particular occasion can be reduced to the causing of events by certain mental events or states, such as certain desires, beliefs and/or intentions. Agent-causal libertarians disagree. A common critique against event-causal libertarian accounts is that the agent’s role of settling matters is left unfilled and the agent “disappears” from such accounts—a problem known as the disappearing agent problem. Recently, Franklin has argued that an “enriched” (...) event-causal account can overcome this problem. Franklin, however, doesn’t consider whether, as Pereboom argues, the agent as decider of “torn decisions” disappears from even enriched accounts. As I show here, Franklin’s enriched account takes some modifying if it is to overcome Pereboom’s torn decision problem—a special case of the disappearing agent problem. However, as I also show, there is a more fundamental problem facing event-causal libertarian accounts. It is implausible that an agent qua event or state simultaneously settles whether and how she intervenes. The upshot is that events and/or states lack an ability essential to completely fulfilling an agent’s role qua settler. This isn’t a problem for agent-causal accounts like the one offered by Steward because in as much as an agent qua substance settles whether her body moves in certain ways on certain occasions she simultaneously settles whether and how she intervenes. As a consequence, event-causal libertarians face a dilemma, or rather several, that agent-causal libertarians do not. This may ultimately be explained by the irreducibility of causation by agents to causation by events. (shrink)

In the last two decades, Davidson’s event-argument hypothesis has become very popular in natural language semantics. This article questions that event-based analyses actually add something to our understanding of the respective phenomena: I argue that they already find their explanation in independently motivated grammatical assumptions and principles which apply to all kinds of modification. Apart from a short discussion of Davidson’s original arguments in favour of his hypothesis, I address Larson’s event-based account of the distinctions between stage-level (...) vs. individual-level modification and adverbial vs. adjectival modification in the nominal domain. I argue that his analysis of the former reduces straightforwardly to the grammatical structure of the nominal phase. As for the latter, I provide reasons which motivate a re-description of the phenomenon in terms of sensitivity to descriptive content rather than events. I argue that, so described, the phenomenon can be explained in terms of interface conditions, given a phasal architecture of grammar. (shrink)

In this article we introduce the concept of implied optical perspective in deep learning computer vision systems. Taking the BBC's experimental television programme “Made by Machine: When AI met the Archive” as a case study, we trace a conceptual and material link between the system used to automatically “watch” the television archive and a specific type of photographic practice. From a computational aesthetics perspective, we show how deep learning machine vision relies on photography, its technical regimes and epistemic advantages, (...) and we propose a novel way to identify the latent camera through which the BBC archive was seen by machine. (shrink)

Статья посвящена исследованию event-менеджмента в управлении развитием туризма. Раскрыт потенциал event-менеджмента в сфере туризма. Изучен событийный туризм и его перспективы развития на украинском рынке туристических услуг.

Monists and pluralists disagree concerning how many ordinary objects there are in a single situation. For instance, pluralists argue that a statue and the clay it is made of have different properties, and thereby are different. The standard monist’s response is to hold that there is just a single object, and that, under the description “being a statue”, this object is, e.g., aesthetically valuable, and that, under the description “being a piece of clay”, it is not aesthetically valuable. However, Fine (...) provided an ontological reading of the expression “an object under a description”: the theory of rigid embodiments. The debate between monists and pluralists reduplicates in the domain of ordinary occurrences, like walks and conferences. Specifically, they disagree whether an occurrence in progress (also called “process”) like John’s walk that is happening at tn is identical to some completed occurrence (also called “event”) like John’s walk that happened between, e.g., t1 and tn. Under the adoption of the pluralist’s position, the article aims to provide a novel theory of ordinary occurrences that develops the ontological reading of “under a description” to account for occurrences in progress and completed occurrences. As a first result, we formulate a theory according to which both occurrences in progress and completed occurrences are rigid embodiments. As a second result, we argue that the suggested theory is explanatorily powerful to the extent it solves two puzzles that we call “the Puzzle from the Completion of a Process” and “the Metaphysical-cum-Semantical Puzzle”. (shrink)

I describe and discuss one particular dimension of disagreement in the philosophical literature on episodic memory. One way of putting the disagreement is in terms of the question as to whether or not there is a difference in kind between remembering seeing x and remembering what x looks like. I argue against accounts of episodic memory that either deny that there is a clear difference between these two forms of remembering, or downplay the difference by in effect suggesting that the (...) former contains an additional ingredient not present in the latter, but otherwise treating them as the same thing. I also show that a recent ‘minimalist’ approach to episodic memory (Clayton & Russell in Neuropsychologia 47 (11): 2,330–2,340, 2009; Russell & Hanna in Mind & Language 27 (1): 29–54, 2012) fails to give a satisfactory explanatory account of the difference between the two types of remembering. I finish by sketching an alternative approach to episodic memory, which turns on the idea that episodic recollection recruits a specific form of causal reasoning that provides for a concrete sense in which remembered events are remembered as belonging to the past. (shrink)

This paper will first give an overview of the role of events in semantics against the background of Davidsonian semantics and its Neo-Davidsonian variant. Second, it will discuss some serious issues for standard views of events in contemporary semantics and present novel proposals of how to address them. These are [1] the semantic role of abstract (or Kimean) states, [2] wide scope adverbials, and [3] the status of verbs as event predicates with respect to the mass-count distinction. The paper (...) will show that abstract states as the entities described by (most) stative verbs are incompatible with Neo-Davidsonian event semantics and proposes a decompositional analysis of stative verbs that may be able to overcome the difficulty. The paper will argue that in addition to Davidsonian events, the semantics of adverbials requires events as truthmakers as well as actions as more complex entities sharply distinguished from events. The paper will also argue that the verbal domain of events sides with mass nouns rather than dividing into mass and count, unlike event nouns. (shrink)

There is an emerging view according to which countability is not an integral part of the lexical meaning of singular count nouns, but is ‘added on’ or ‘made available’, whether syntactically, semantically or both. This view has been pursued by Borer and Rothstein among others in order to deal with classifier languages such as Chinese as well as challenges to standard views of the mass-count distinction such as object mass nouns such as furniture. I will discuss a range of data, (...) partly from German, that such a grammar-based view of countability receives support when applied to verbs with respect to the event argument position. Verbs themselves fail to specify events as countable in English and related languages; instead countability is made available only by the use of the event classifier time or else particular lexical items, such as frequency expressions, German beides ‘both’, or the nominalizing light noun -thing. The paper will not adopt or elaborate a particular version of the grammar-based view of countability, but rather critically discuss existing versions and present two semantic options of elaborating the view. (shrink)

Event concepts are unstructured atomic concepts that apply to event types. A paradigm example of such an event type would be that of diaper changing, and so a putative example of an atomic event concept would be DADDY'S-CHANGING-MY-DIAPER.1 I will defend two claims about such concepts. First, the conceptual claim that it is in principle possible to possess a concept such as DADDY'S-CHANGING-MY-DIAPER without possessing the concept DIAPER. Second, the empirical claim that we actually possess such (...) concepts and that they play an important role in our cognitive lives. The argument for the empirical claim has the form of an inference to the best explanation and is aimed at those who are already willing to attribute concepts and beliefs to infants and nonhuman animals. Many animals and prelinguistic infants seem capable of re-identifying event-types in the world, and they seem to store information about things happening at particular times and places. My account offers a plausible model of how such organisms are able to do this without attributing linguistically structured mental states to them. And although language allows adults to form linguistically structured mental representations of the world, there is no good reason to think that such structured representations necessarily replace the unstructured ones. There is also no good reason for a philosopher who is willing to explain the behavior of an organism by appealing to atomic concepts of individuals or kinds to not use a similar form of explanation when explaining the organism's capacity to recognize events. -/- We can form empirical concepts of individuals, kinds, properties, event-types, and states of affairs, among other things, and I assume that such concepts function like what François Recanati calls ‘mental files’ or what Ruth Millikan calls ‘substance concepts’ (Recanati 2012; Millikan 1999, 2000, 2017). To possess such a concept one must have a reliable capacity to re-identify the object in question, but this capacity of re-identification does not fix the reference of the concept. Such concepts allow us to collect and utilize useful information about things that we re-encounter in our environment. We can distinguish between a perception-action system and a perception-belief system, and I will argue that empirical concepts, including atomic event concepts, can play a role in both systems. The perception-action system involves the application of concepts in the service of (often skilled) action. We can think of the concept as a mental file containing motor-plans that can be activated once the individual recognizes that they are in a certain situation. In this way, recognizing something (whether an object or an event) as a token of a type, plays a role in guiding immediate action. The perception-belief system, in contrast, allows for the formation of beliefs that can play a role in deliberation and planning and in the formation of expectations. I distinguish between two particular types of belief which I call where-beliefs and when-beliefs, and I argue that we can model the formation of such perceptual beliefs in nonlinguistic animals and human infants in terms of the formation of a link between an empirical concept and a position on a cognitive map. According to the account offered, seemingly complex beliefs, such as a baby's belief that Daddy changed her diaper in the kitchen earlier, will not be linguistically structured. If we think that prelinguistic infants possess such concepts and are able to form such beliefs, it is likely that adults do too. The ability to form such beliefs does not require the capacity for public language, and we can model them in nonlinguistic terms; thus, we have no good reason to think of such beliefs as propositional attitudes. Of course, we can use sentences to refer to such beliefs, and thus it is possible to think of such beliefs as somehow relations to propositions. But it is not clear to me what is gained by this as we have a perfectly good way to think about the structure of such beliefs that does not involve any appeal to language. (shrink)

Taylor has recently argued that adopting either the standard Kimian or Davidsonian approaches to the metaphysics of events quite directly solves the regress of pure powers. I argue, though, that on closer inspection Taylor’s proposal does not succeed, given either the Kimian or the Davidsonian account of events.

This paper seeks to provide a critical reading of the photographs of photographer Eduardo Masferré. The photos reviewed were part of the collection in E. Masferré, People of the Philippine Cordillera Photographs, 1934-1956 published in 1988. The book showcases the body of work of Masferré, a Spanish Filipino who is part of the Kankana-ey tribe through his mother. Considered as the father of Philippine photography, Masferré’s photos mirror his talent as well as reflect images, life, and work of the Igorots (...) in Cordillera. Masferré made it his task to take hundreds of photographs of the Cordillera to document its culture and tradition, display the remarkable knowledge of the Igorots in agriculture, showcase the unique character of the area, and illustrate the humanity of his people. Using the theory of Igorotism and theory of orientalism, Masferre´s photos were analyzed to determine the Igorotist and orientalist elements in Masferre’s photos and how these were formed in his art. This research studied the artist and his works while also seeking to understand the representation of the people of Cordillera in Masferré’s photographs. As Masferré’s body of work was explored, the researcher also looked into the life of Masferré, his influences, and the forces that shaped the Igorotist and orientalist elements in his masterpiece. The findings were interpreted to find out which of these forces prevailed – Masferré’s Igorotism ideology or the invisible orientalist influence. (shrink)

I discuss the foundations of predicate ontologies based on two model notions – elementary states of affairs and eventualities, i.e. ordered pairs of initial and end states of affairs. Vendlerian classifications are oriented towards elementary states and tense logic, while Davidsonian classifications deal with eventualities and event logic. There are two kinds of atemporal predicates - fact and properties. Facts are propositional arguments of second-order predicates which add a special meaning that the embedded proposition was verified. Properties are atemporal (...) first-order predicates that lack eventive interpretation and are not associated with factive frames. Davidsonian states are homogeneous durable spatiotemporal things distinct both from atemporal properties and spatiotemporal dynamic predicates. Davidsonian states are causally independent, while resultatives are causally determined as they reconstruct a preceding event that has caused the end state p. I discuss the contrast between external and internal Davidsonian states. The former lack a priority argument and can be quantified extensionally. The latter have a priority experiential argument and can only be quantified intensionally. External states can be observed, while internal states cannot. (shrink)

Abstract: The following is an outline of an emerging foundation for science that begins to explain living forms and their patterns of movement beyond the sphere of mechanistic interactions. Employing an event ontology based on a convergence of quantum physics and Alfred North Whitehead’s process philosophy, coupled with the controversial yet promising theory of formative causation, this development will explore possible influences on the outcomes of events beyond any combination of external forces, laws of Nature, and chance. If it (...) turns out there are no such additional influences--beyond mechanistic causes--it is difficult to see how agency or free will could exist. Assuming agency exists, as Whitehead apparently does, while committing to an event ontology in which process is fundamental leads to interesting questions about the natures of any entities that might participate in events. Furthermore, what might the purposes and agendas of such entities be based upon, beyond memory traces or DNA code? This ontological model, recognizing processes as fundamental, leads to a revised cosmology where the trajectory of a series of events may be due to more than rearrangement of material bits according to external forces and where goal-directed, recurring processes and the emergence of mind are not so surprising. Just as special relativity reduces to classical treatment when speeds slow down, this scientific model for a living world reduces to mechanistic materialism whenever conditions are more limited. Though this development is based on a philosophy of process, there are some dissimilarities with respect to Whitehead’s particular version. (shrink)

The article reviews some analyses of temporal language in logical approaches to natural language semantics. It considers some asymmetries between past and future, manifested in language, which motivate the “standard view” of the non-reversibility of time and the persistence of the past. It concludes with a puzzle about the changing past which challenges the standard view.

This chapter corrects for Susan Sontag's undeserved neglect by contemporary ethical philosophers by bringing awareness to some of the unique metaethical insights born of her reflections on photographic representations of evil. I argue that Sontag's thought provides fertile ground for thinking about: (1) moral perception and its relation to moral knowledge; and (2) the epistemic and moral value of our emotional responses to the misery and suffering of others. I show that, contrary to standard moral perception theory (e.g. Blum (...) 1994), Sontag holds that we can have general moral perceptual knowledge. I then explore Sontag's idea that certain emotional responses, like sympathy and compassion, can sometimes be impertinent, in virtue of their having false or illusory content. I explain why this is so, and show the epistemic and motivational problems it poses for moral sentimentalism. (shrink)

The debate over the objects of episodic memory has for some time been stalled, with few alternatives to familiar forms of direct and indirect realism being advanced. This paper moves the debate forward by building on insights from the recent psychological literature on memory as a form of episodic hypothetical thought (or mental time travel) and the recent philosophical literature on relationalist and representationalist approaches to perception. The former suggests that an adequate account of the objects of episodic memory will (...) have to be a special case of an account of the objects of episodic hypothetical thought more generally. The latter suggests that an adequate account of the objects of episodic hypothetical thought will have to combine features of direct realism and representationalism. We develop a novel pragmatist-inspired account of the objects of episodic hypothetical thought that has the requisite features. (shrink)

It has been claimed that photographs are transparent: we see through them; we literally see the photographed object through the photograph. Whether this claim is true depends on the way we conceive of seeing. There has been a controversy about whether localizing the perceived object in one's egocentric space is a necessary feature of seeing, as if it is, then photographs are unlikely to be transparent. I would like to propose and defend another, much weaker, necessary condition for seeing: I (...) argue that it is necessary for seeing that there is at least one way for me to move such that if I were to move this way, my view of the perceived object would change continuously as I move. Since this condition is not satisfied in the case of seeing objects in photographs, photographs are not transparent. (shrink)