Results for 'picture'

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  1. Perceiving Pictures.Bence Nanay - 2011 - Phenomenology and the Cognitive Sciences 10 (4):461-480.
    I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of (...)
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  2. Pictures Have Propositional Content.Alex Grzankowski - 2015 - Review of Philosophy and Psychology 6 (1):151-163.
    Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, such arguments (...)
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  3. Pictures, Perspective and Possibility.Ben Blumson - 2010 - Philosophical Studies 149 (2):135 - 151.
    This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.
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  4. A Picture Held Us Captive: The Later Wittgenstein and Visual Argumentation.Steven W. Patterson - 2011 - Cogency: Journal of Reasoning and Argumentation 2 (2):105-134.
    The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear on (...)
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  5. Pictures, Experiential Learning and Phenomenology.Matthew Crippen - 2015 - In András Benedek & Nyiri Kristof (eds.), Saying by Showing, Showing by Saying – Pictures, Parables, Paradoxes. Peter Lang. pp. 83-90.
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  6.  97
    Picturing the Infinite.Jeremy Gwiazda - manuscript
    The purpose of this note is to contrast a Cantorian outlook with a non-Cantorian one and to present a picture that provides support for the latter. In particular, I suggest that: i) infinite hyperreal numbers are the (actual, determined) infinite numbers, ii) ω is merely potentially infinite, and iii) infinitesimals should not be used in the di Finetti lottery. Though most Cantorians will likely maintain a Cantorian outlook, the picture is meant to motivate the obvious nature of the (...)
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  7. Seeing, Visualizing, and Believing: Pictures and Cognitive Penetration.John Zeimbekis - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford University Press. pp. 298-327.
    Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface (...)
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  8. Some Pictures Are Worth 2Aleph0 Sentences.Philip Kitcher & Achille C. Varzi - 2000 - Philosophy 75 (3):377-381.
    According to the cliché a picture is worth a thousand words. But this is a canard, for it vastly underestimates the expressive power of many pictures and diagrams. In this note we show that even a simple map such as the outline of Manhattan Island, accompanied by a pointer marking North, implies a vast infinity of statements—including a vast infinity of true statements.
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  9. Narrative Pictures.Bence Nanay - 2009 - Journal of Aesthetics and Art Criticism 67 (1):119 - 129.
    This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.
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  10. Picturing Mind Machines, An Adaptation by Janneke van Leeuwen.Simon van Rysewyk & Janneke van Leeuwen - 2014 - In Simon Peter van Rysewyk & Matthijs Pontier (eds.), Machine Medical Ethics. Springer.
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  11. Logical Relations Between Pictures.Jan Westerhoff - 2005 - Journal of Philosophy 102 (12):603 - 623.
    An implication relation between pictures is defined, it is then shown how conjunctions, disjunctions, negations, and hypotheticals of pictures can be formed on the basis of this. It is argued that these logical operations on pictures correspond to natural cognitive operations employed when thinking about pictures.
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  12. Metaphysical Explanation: The Kitcher Picture.Sam Baron & James Norton - 2019 - Erkenntnis 86 (1):187-207.
    This paper offers a new account of metaphysical explanation. The account is modelled on Kitcher’s unificationist approach to scientific explanation. We begin, in Sect. 2, by briefly introducing the notion of metaphysical explanation and outlining the target of analysis. After that, we introduce a unificationist account of metaphysical explanation before arguing that such an account is capable of capturing four core features of metaphysical explanations: irreflexivity, non-monotonicity, asymmetry and relevance. Since the unificationist theory of metaphysical explanation inherits irreflexivity and non-monotonicity (...)
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  13. Reasoning: A Social Picture. By Anthony Simon Laden.Adam Morton - 2013 - Philosophical Quarterly 63 (253):843-846.
    review of Laden's *Reasoning: a social picture* praising the aim and expressing puzzlement at the details,.
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  14. Why Digital Pictures Are Not Notational Representations.John Zeimbekis - 2015 - Journal of Aesthetics and Art Criticism 73 (4):449-453.
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  15. The World Picture and its Conflict in Dilthey and Heidegger.Eric S. Nelson - 2011 - Humana Mente 4 (18):19–38.
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  16. Deeper Into Pictures: An Essay on Pictorial Representation.Flint Schier - 2009 - Cambridge University Press.
    This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...)
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  17. Inflected and Uninflected Perception of Pictures.Bence Nanay - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects (...)
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  18. Show Me the Argument: Empirically Testing the Armchair Philosophy Picture.Zoe Ashton & Moti Mizrahi - 2018 - Metaphilosophy 49 (1-2):58-70.
    Many philosophers subscribe to the view that philosophy is a priori and in the business of discovering necessary truths from the armchair. This paper sets out to empirically test this picture. If this were the case, we would expect to see this reflected in philosophical practice. In particular, we would expect philosophers to advance mostly deductive, rather than inductive, arguments. The paper shows that the percentage of philosophy articles advancing deductive arguments is higher than those advancing inductive arguments, which (...)
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  19. Mental Pictures, Imagination and Emotions.Maria Magoula Adamos - 2012 - In P. Hanna (ed.), Anthology of Philosophical Studies, vol. 6. ATINER. pp. 83-91.
    Although cognitivism has lost some ground recently in the philosophical circles, it is still the favorite view of many scholars of emotions. Even though I agree with cognitivism's insight that emotions typically involve some type of evaluative intentional state, I shall argue that in some cases, less epistemically committed, non-propositional evaluative states such as mental pictures can do a better job in identifying the emotion and providing its intentional object. Mental pictures have different logical features from propositions: they are representational, (...)
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  20.  59
    Philosophical Pictures From Philosopher Portraits.John Dilworth - manuscript
    Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.
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  21. Trompe L’Oeil and the Dorsal/Ventral Account of Picture Perception.Bence Nanay - 2015 - Review of Philosophy and Psychology 6 (1):181-197.
    While there has been a lot of discussion of picture perception both in perceptual psychology and in philosophy, these discussions are driven by very different background assumptions. Nonetheless, it would be mutually beneficial to arrive at an understanding of picture perception that is informed by both the philosophers’ and the psychologists’ story. The aim of this paper is exactly this: to give an account of picture perception that is valid both as a philosophical and as a psychological (...)
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  22.  97
    Pictures, Propositions, and Predicates.Dominic Gregory - 2020 - American Philosophical Quarterly 57 (2):155-170.
    Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The paper concludes by considering the (...)
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  23. The Spectator in the Picture.Robert Hopkins - 2001 - In Rob Van Gerwen (ed.), Richard Wollheim on the Art of Painting. Art as Representation and Expression. Cambridge University Press. pp. 215-231.
    This paper considers whether pictures ever implicitly represent internal spectators of the scenes they depict, and what theoretical construal to offer of their doing so. Richard Wollheim's discussion (Painting as an Art, ch.3) is taken as the most sophisticated attempt to answer these questions. I argue that Wollheim does not provide convincing argument for his claim that some pictures implicitly represent an internal spectator with whom the viewer of the picture is to imaginatively identify. instead, I defend a view (...)
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  24. Pictures, Privacy, Augustine, and the Mind.Derek A. McDougall - 2008 - Journal of Philosophical Research 33:33-72.
    This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...)
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  25. What's in a (Mental) Picture.Alberto Voltolini - 2015 - In A. Torza (ed.), Quantifiers, Quantifiers, and Quantifiers. Springer. pp. 389-406.
    In this paper, I will present several interpretations of Brentano’s notion of the intentional inexistence of a mental state’s intentional object, i.e., what that state is about. I will moreover hold that, while all the interpretations from Section 1 to Section 4 are wrong, the penultimate interpretation that I focus in Section 5, the one according to which intentional inexistence amounts to the individuation of a mental state by means of its intentional object, is correct provided that it is nested (...)
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  26. The Conflicted Character of Picture Perception.Boyd Millar - 2006 - Journal of Aesthetics and Art Criticism 64 (4):471–477.
    It is often assumed that there is a perceptual conflict in looking at a picture since one sees both a two-dimensional surface and a three-dimensional scene simultaneously. In this paper, I argue that it is a mistake to think that looking at pictures requires the visual system to perform the special task of reconciling inconsistent impressions of space, or competing information from different depth cues. To the contrary, I suggest that there are good reasons to think that the perception (...)
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  27.  94
    Sonic Pictures.Jason Leddington - forthcoming - Journal of Aesthetics and Art Criticism.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...)
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  28. The Anthropological Function of Pictures.Joerg R. J. Schirra & Klaus Sachs-Hombach - 2013 - In Klaus SachsHombach & Joerg R. J. Schirra (eds.), Origins of Pictures. Anthropological Discourses in Image Science. Halem. pp. 132-159.
    There has been a long tradition of characterizing man as the animal that is capable of propositional language. However, the remarkable ability of using pictures also only belongs to human beings. Both faculties however depend conceptually on the ability to refer to absent situations by means of sign acts called 'context building'. The paper investigates the combined roles of quasi-pictorial sign acts and proto-assertive sign acts in the situation of initial context building, which, in the context of “concept-genetic” considerations, aims (...)
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  29. Edith Stein and the Problem of Empathy: Locating Ascription and a Structural Relation to Picture Consciousness.Peter Shum - 2012 - Journal of the British Society for Phenomenology 43 (2):178-194.
    The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...)
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  30. Edith Stein and the Problem of Empathy: Locating Ascription and a Structural Relation to Picture Consciousness.Peter Shum - 2012 - Journal of the British Society for Phenomenology 43 (2):178-194.
    The domain of phenomenological investigation delineated by the Husserlian term authentic empathy presents us with an immediate tension. On the one hand, authentic empathy is supposed to grant the subject access (in some sense that remains to be fully specified) to the Other’s experience. On the other hand, foundational phenomenological considerations pertaining to the apprehension of a foreign subjectivity determine that it is precisely a disjunction in subjective processes that is constitutive of the Other being other. In my approach to (...)
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  31. Picturing Words: The Semantics of Speech Balloons.Emar Maier - 2019 - In Proceedings of the 22nd Amsterdam Colloquium. Amsterdam: pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
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  32.  47
    Picturing the Universe: Adventures with Miura Baien at the Borderland of Philosophy and Science.Rosemary Mercer - 1998 - Philosophy East and West 48 (3):478-502.
    The Japanese scholar Miura Baien (1723-1789) worked throughout his life to produce a philosophical analysis of the natural world. Misinterpretations of his intentions arise from drawing diagrams on his behalf that are inconsistent with his text, or by applying to his text Western academic terms that are quite foreign to his thought. When Baien's text is examined in his own terms we can understand its significant role in the scientific thought of the Edo period.
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  33. Pictures and Properties.Ben Blumson - 2014 - In Resemblance and Representation. Open Book Publishers. pp. 179-198.
    It’s a platitude that a picture is realistic to the degree to which it resembles what it represents (in relevant respects). But if properties are abundant and degrees of resemblance are proportions of properties in common, then the degree of resemblance between different particulars is constant (or undefined), which is inconsonant with the platitude. This paper argues this problem should be resolved by revising the analysis of degrees of resemblance in terms of proportion of properties in common, and not (...)
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  34. Twisted Pictures: Morality, Nihilism and Symbolic Suicide in the Saw Series.Steve Jones - 2013 - In James Aston & John Walliss (eds.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. McFarland. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  35. Weak Discernibility, Quantum Mechanics and the Generalist Picture.Matteo Morganti - 2008 - Facta Philosophica 10 (1/2):155--183.
    Saunders' recent arguments in favour of the weak discernibility of (certain) quantum particles seem to be grounded in the 'generalist' view that science only provides general descriptions of the worlIn this paper, I introduce the ‘generalist’ perspective and consider its possible justification and philosophical basis; and then look at the notion of weak discernibility. I expand on the criticisms formulated by Hawley (2006) and Dieks and Veerstegh (2008) and explain what I take to be the basic problem: that the properties (...)
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  36. Seeing-in, Seeing-as, Seeing-With: Looking Through Pictures.Emmanuel Alloa - 2011 - In Elisabeth Nemeth, Richard Heinrich, Wolfram Pichler & Wagner David (eds.), Image and Imaging in Philosophy, Science, and the Arts. Volume I. Proceedings of the 33rd International Wittgenstein Symposium. Ontos: 179-190. pp. 179-190.
    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 (...)
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  37. Scientific Revolutions, Specialization and the Discovery of the Structure of DNA: Toward a New Picture of the Development of the Sciences.Politi Vincenzo - 2018 - Synthese 195 (5):2267-2293.
    In his late years, Thomas Kuhn became interested in the process of scientific specialization, which does not seem to possess the destructive element that is characteristic of scientific revolutions. It therefore makes sense to investigate whether and how Kuhn’s insights about specialization are consistent with, and actually fit, his model of scientific progress through revolutions. In this paper, I argue that the transition toward a new specialty corresponds to a revolutionary change for the group of scientists involved in such a (...)
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  38. Transworld Identity, Singular Propositions, and Picture-Thinking.Matthew Davidson - 2007 - In On Sense and Direct Reference. McGraw-Hill.
    This is a paper in which I argue that problems of transworld identity and the truth in-truth at distinction are motivated by unhelpful pictures we have in mind while doing metaphysics.
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  39. Women's Pictures: Feminism and Cinema.Annette Kuhn - 1982 - Routledge & Kegan Paul.
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  40.  54
    The Picture of Abjection: Film, Fetish, and the Nature of Difference by Chanter, Tina. [REVIEW]Russell Ford - 2010 - Journal of Aesthetics and Art Criticism 68 (1):79-81.
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  41. Picturing Justice.Kyle Johannsen - 2017 - Contemporary Political Theory 16 (3):387-93.
    This essay reviews two books by Rainer Forst: "The Right to Justification: Elements of a Constructivist Theory of Justice"; and "Justice, Democracy and the Right to Justification: Rainer Forst in Dialogue".
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  42. Wittgenstein's Picture Theory in the Linguistic Copenhagen Interpretation of Dualistic Idealism.Ishikawa Shiro -
    Recently, we have proposed quantum language ( or the linguistic Copenhagen interpretation of quantum mechanics). Quantum languages describe both classical and quantum systems and therefore have great power to solve almost all philosophical problems. Thus, we believe that quantum language can be regarded as the language of science. Therefore, it makes sense to study Wittgenstein's picture theory within the framework of quantum language, since Wittgenstein's language (i.e., the language that he supposed, but didn't define in his book "Tractatus Logico-Philosophicus") (...)
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  43. The Bigger Picture: A Commentary on the Forcehimes–Karjiker Debate.Ali Pirhayati - 2019 - Think 18 (51):101-105.
    Forcehimes poses a parity between libraries and downloading books online and concludes that the im/permissibility of one of them entails the im/permissibility of the other and vice versa. Karjiker rejects this parity arguing that the magnitudes of these two are vastly different and while libraries do not lead to a considerable market failure, downloading e-books does. In this article, I try to clarify some points, show a kind of parochialism in Karjiker’s arguments, propose a thought experiment to neutralize the magnitude (...)
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  44. Model-Selection Theory: The Need for a More Nuanced Picture of Use-Novelty and Double-Counting.Katie Steele & Charlotte Werndl - 2016 - British Journal for the Philosophy of Science:axw024.
    This article argues that common intuitions regarding (a) the specialness of ‘use-novel’ data for confirmation and (b) that this specialness implies the ‘no-double-counting rule’, which says that data used in ‘constructing’ (calibrating) a model cannot also play a role in confirming the model’s predictions, are too crude. The intuitions in question are pertinent in all the sciences, but we appeal to a climate science case study to illustrate what is at stake. Our strategy is to analyse the intuitive claims in (...)
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  45. Sense and Reference of Pictures.Maarten Steenhagen - 2020 - British Journal of Aesthetics (1):1-5.
    John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.
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  46. Back to the Big Picture.Anna Alexandrova, Robert Northcott & Jack Wright - 2021 - Journal of Economic Methodology 28 (1):54-59.
    We distinguish between two different strategies in methodology of economics. The big picture strategy, dominant in the twentieth century, ascribed to economics a unified method and evaluated this m...
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  47.  19
    A Digital Picture to Hold Us Captive? A Flusserian Interpretation of Misinformation Sharing on Social Media.Lavinia Marin - 2021 - Philosophy Today 65 (3):485–504.
    In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under the (...)
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  48.  86
    Electromagnetic and Gravitational Pictures of the World.Sergey G. Fedosin - 2007 - Apeiron 14 (4):385-413.
    The review of the theory of electromagnetic field together with the special and general theories of relativity has been made. The similar theory of gravitation has been presented which has the property of Lorentz-invariancy in its own representation in which the information is transferred at the speed of propagation of the gravitational field. Generalization of the specified gravitation theory on noninertial reference systems has been made with the help of the mathematical apparatus of the general relativity. It allows to avoid (...)
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  49. Philosophy of motion pictures.Enrique Morata - 2014 - Scribd.
    In Spanish, tecnicas para filmar peliculas amateur, Orson Welles, Kubrick.
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  50.  21
    Meaning Through Pictures: Péter Forgács and Ludwig Wittgenstein.Andrew Lugg & Bela Szabados - 2011 - In Bela Szabados (ed.), Wittgenstein at the Movies: Cinematic Investigations. Latham, Maryland: Rowman and Littlefied. pp. 91-120.
    Chapter in Wittgenstein at the Movies, an in-depth explorations of two experimental films on Wittgenstein: Derek Jarman's Wittgenstein and Péter Forgács' Wittgenstein Tractatus.
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