I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...) the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

Comic is one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Sam Cowling and Ley Cray (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I argue, is to (...) look at more medium-specific non-depictive images (such as speech balloons and panels) to set comics apart from other hybrid media. (shrink)

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 (...) can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

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 as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

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

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.

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 as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

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 the question of whether there are such things as “purely visual” arguments. I shall draw on Wittgenstein’s remarks in the Blue and Brown Books and in Philosophical Investigations in order to argue that al- though visual images may occur as elements of argumentation, broadly conceived, it is a mistake to think that there are purely visual arguments, in the sense of illative moves from premises to conclusions that are conveyed by images alone, without the support or framing of words. (shrink)

The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory of (...) disability technically constitutes a species of relational approach because its analysis references the interplay between an individual and their environment; it differs from other relational accounts, however, by interpreting disability as a certain kind of negative experience—rather than a function of that relationship. This purely descriptive theory makes no normative claims about disability and operates as both a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. When disability is reframed in this way, the theory offers a particularist perspective which shows if, when, where, and how disability is experienced. (shrink)

This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of truth. The expression (...) of a Tractarian fact provides that fact's mode of combination, and from here there can be no further question as to the ontological types of its constituents. Tractarian facts, it is however added, are not truth conditions but items whose existence explains the obtaining of truth conditions: a Tractarian atomic fact is not a truth condition but a truthmaker. (shrink)

In PI 189, Wittgenstein's interlocutor asks, ‘But are the steps then not determined by the algebraic formula?’. Wittgenstein responds, ‘The question contains a mistake’. What is the mistake contained in the interlocutor's question? Wittgenstein's elaboration is neither explicit nor its intended upshot transparent. In this paper, I offer a reading on which the interlocutor's question arises from illicitly crossing different pictures of ‘determination’. I begin by working through Wittgenstein's machine analogy in PI 193, which illustrates picture‐crossing in our ways of (...) talking about a machine. Using the lessons from this analogy, I show how the interlocutor's ‘mistake’ can be diagnosed in similar terms: their confusion about the power of a rule to determine its applications rests on mistakenly crossing a behavioural and a mathematical sense of ‘determine’—thereby concocting a mystifying picture of rule‐following. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Picturing is a poorly understood element of Sellars’s philosophical project. We diagnose the problem with picturing as follows: on the one hand, it seems that it must be connected with action in order for it to do its job. On the other hand, the representational states of a picturing system are characterized in descriptive and seemingly static terms. How can static terms be connected with action? To solve this problem, we adopt a concept from recent work in (...) Sellarsian metaethics: the idea of a material practical inference, which (we argue) features centrally in how we picture. The key distinction is that the picturing of nonhuman animals involves only Humean material practical inference, in which representational states are corrected only by feedback from the environment and not from discursive interactions. The resulting view shows that Sellars’s contributions to practical philosophy (especially theory of action and metaethics) cannot be separated from his contributions to philosophy of mind, language, and cognitive science. Further, the view makes it clear that picturing is neither a version of the Given, nor is it a fifth wheel to inferential role in explaining representation, but is essential to Sellars’s model of how animals—including humans—represent their environment. (shrink)

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.

With respect to the metaphysics of infinity, the tendency of standard debates is to either endorse or to deny the reality of ‘the infinite’. But how should we understand the notion of ‘reality’ employed in stating these options? Wittgenstein’s critical strategy shows that the notion is grounded in a confusion: talk of infinity naturally takes hold of one’s imagination due to the sway of verbal pictures and analogies suggested by our words. This is the source of various philosophical pictures that (...) in turn give rise to the standard metaphysical debates: that the mathematics of infinity corresponds to a special realm of infinite objects, that the infinite is profoundly huge or vast, or that the ability to think about infinity reveals mysterious powers in human beings. First, I explain Wittgenstein’s general strategy for undermining philosophical pictures of ‘the infinite’ – as he describes it in Zettel; and then show how that critical strategy is applied to Cantor’s diagonalization proof in Remarks on the Foundations of Mathematics II. (shrink)

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, (...) and some may or may not portray actual objects aptly. Yet, unlike propositional attitudes, mental pictures do not allow for objective criteria by which one can judge that a certain picture is an apt portrait of someone or something. (shrink)

Iris Murdoch offers a distinctive conception of moral psychology. She suggests that to develop a moral psychology is to develop what she calls a soul-picture; different philosophical moral psychologies are, as she puts it, “rival soul-pictures.” In this paper I clarify Murdoch’s generic notion of “soul-picture,” the genus of which, for example, Aristotle’s, Kant’s, Nietzsche’s, and Murdoch’s constitute rival species. Are all philosophical moral psychologies soul-pictures? If not, what are the criteria that a moral psychology must meet in order to (...) qualify as a soul-picture? I propose five key dimensions. A soul-picture provides a picture of the soul or self that is 1) holistic, 2) value-rich and psychologically realistic (for Murdoch these are intertwined), 3) reflexive, 4) therapeutic and 5) the articulation of which makes use of imaginative language. (shrink)

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.

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.

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

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 (...) sequences of utterances, can be used to tell stories. Wordless picture books, comics, and film are cases in point. In this paper I pick up the project of providing a dynamic semantic account of pictorial story-telling, started by Abusch (2012) and continued by Abusch & Rooth (2017); Maier & Bimpikou (2019); Fernando (2020). More specifically, I propose here a semantics of speech and thought bubbles by adding event reference to PicDRT. To get there I first review the projection-based semantics for pictures (section 1), noting the fundamental distinction between symbolic and iconic meaning that makes speech bubbles especially interesting (section 2). I then review the dynamic PicDRT framework for pictorial narratives (section 3), add events (section 4), and propose an account of speech bubbles as quotational event modification (section 5). I end with a brief look at other conventional, symbolic enrichments in comics (section 6). (shrink)

Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...) semantics for basic depictive content, I argue that the relevant systematicity is absent from the pictorial realm. (shrink)

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 non-Cantorian outlook.

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 by (...) accepting a sparse theory of properties or by denying that degree of realism is degree of resemblance (in relevant respects). (shrink)

Observers inspected normal, high quality color displays of everyday visual scenes while their eye movements were recorded. A large display change occurred each time an eye blink occurred. Display changes could either involve "Central Interest" or "Marginal Interest" locations, as determined from descriptions obtained from independent judges in a prior pilot experiment. Visual salience, as determined by luminance, color, and position of the Central and Marginal interest changes were equalized. -/- The results obtained were very similar to those obtained in (...) prior experiments showing failure to detect changes occurring simultaneously with saccades, flicker, or “mudsplashes” in the visual scene: Many changes were very hard to detect, and Marginal Interest changes were harder to detect than Central Interest changes. -/- Analysis of eye movements showed, as expected, that the probability of detecting a change depended on the eye’s distance from the change location. However a surprising finding was that both for Central and Marginal Interest changes, evenwhen observers were directly fixating the change locations (within 1 degree),more than 40% of the time they still failed to see the changes. It seems that looking at something does not guarantee you “ see” it. (shrink)

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 (...) for a philosophical explanation of the anthropological functon of pictures and their relation to imagination. (shrink)

[please see my website for the English language version] What is the relationship between a philosophical or theoretical conception of mind, and the mind’s conception of itself? Should the latter constrain the former? And how does the mind itself understand a theory of mind, that is, a theory of itself? I raise these questions by means of Freud. Freud suggested that the mind cannot merely theoretically comprehend psychoanalytic concepts but must be able to “recognize” and “sympathize” with them. I call (...) this the recognition requirement. This idea clarifies the rationale behind Freud’s last metapsychology of Id, Ego, and Super-ego. I close by asking: when should a theory of mind try to meet the recognition requirement? I propose that a theory of mind should be structured according to the recognition requirement when that theory is connected with practical aims, specifically, when the theory is concerned with the life of the mind and with facilitating the mind’s own self-understanding. (shrink)

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 (...) philosophical context, to acquire meaning. Yet it is no part of his intention to demonstrate logically that ordinary sensations are not intrinsically meaningful. This is a tempting yet misleading picture, the picture also expressed through the idea of Augustine’s child who is conceptually articulateprior to learning how to talk. This picture lies behind the born Crusoe, an idea at the centre of the dichotomy between language as essentially shared and essentially shareable, a dichotomy considered here to result from a misconception of two quite separate but related aspects of Wittgenstein’s treatment offollowing a rule. The notion of a misleading picture, in both its pre-theoretical and philosophical aspects, also plays a crucial role in a treatment of Saul Kripke’s well-known “Postscript: Wittgenstein and Other Minds.”. (shrink)

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 (...) films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

I argue that Sellars’s distinction between signifying and picturing should be taken seriously by philosophers of mind, language, and cognition. I begin with interpretations of key Sellarsian texts in order to show that picturing is best understood as a theory of non-linguistic cognitive representations through which animals navigate their environments. This is distinct from the kind of discursive cognition that Sellars called ‘signifying’ and which is best understood in terms of socio-linguistic inferences. I argue that picturing is (...) required because reflection on signifying cannot adequately explain our need for cognitive friction. I then show how the idea of picturing is further developed by Paul Churchland, Ruth Garrett Millikan, and Huw Price. I finally turn to predictive processing as a theory of cognitive representation, and in particular Andy Clark’s ‘radical predictive processing’, to further characterize picturing. However, doing so has the cost of pushing picturing and signifying further apart than Sellars intended. (shrink)

I argue that emojis are essentially little pictures, rather than words, gestures, expressives, or diagrams. ???? means that the world looks like that, from some viewpoint. I flesh out a pictorial semantics in terms of geometric projection with abstraction and stylization. Since such a semantics delivers only very minimal contents I add an account of pragmatic enrichment, driven by coherence and nonliteral interpretation. The apparent semantic distinction between emojis depicting entities (like ????) and those depicting facial expressions (like ????) I (...) analyze as a difference between truth-conditional and use-conditional pictorial content: ???? depicts what the world of evaluation looks like, while ???? depicts what the utterance context looks like. (shrink)

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.

This essay examines Ludwig Wittgenstein's 'Picture Theory' and the modes of reality presented by logical atomism. Simply this theory argues that the world can be understood by simple entities which can be broken down to substances that do not belong to anything else. This essay will illustrate that the Picture Theory cannot ultimately portray an accurate account of reality based on simples. To contrast this claim, I will use René Descartes as a means of countering my claim against Wittgenstein. Yet (...) this will only strengthen my argument regarding simples. Ultimately, this demonstrates that the Picture Theory is unable to accurately depict a complex reality. (shrink)

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...

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

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 in pictures in (...) an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)

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".

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.

review of Laden's *Reasoning: a social picture* praising the aim and expressing puzzlement at the details,.

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") may (...) be a particular subclass of quantum language. In this paper, we show that a class of binary projective measurements in classical quantum language has a logical structure. And thus, the proposition that Wittgenstein studied in his book can be regarded as a binary projective measurement in classical quantum language. Therefore, we conclude that Wittgenstein's language is realized as the central part of classical quantum language. If so, we think that his picture theory should be praised not only from a philosophical point of view but also from a scientific point of view. (shrink)

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

This thesis argues that the nature of disability is, currently, fundamentally misunderstood. Current approaches to disability are nounal and seek to determine the locus of disability with the intention of better understanding the phenomenon of disability. In contrast, this thesis offers an adverbial perspective on disability and shows how disability is experienced as an increased and personally irremediable impediment to daily-living tasks or broader goals. This thesis holds that impediment is not a function of either biological individuality or the Social, (...) but of a specific relation between the individual and their environment. The following delineates the Picture Theory of Disability — a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. The theory is born of Humean sentimentalism and elements of Wittgenstein’s Picture Theory of Language, and shows when, where, and how disability is experienced. (shrink)

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 (...) directly from the unificationist theory of scientific explanation that underwrites it, we focus on demonstrating how the account can secure asymmetry and relevance. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

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.

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 of (...) depth in pictures is achieved in much the same way as is the perception of depth in any ordinary case. (shrink)

This book has been inspired by Walter Benjamin’s idea of an afterlife of an original in its translations and probes into a wide variety of extensions of Carroll’s story in six languages. For one thing, it deals with language that speaks and more or less automatically steers its users in a particular direction and, for another, it discusses the creativity of individual translators who not only share a definite picture of the world with their language community but, in great many (...) instances, reveal a unique resourcefulness in resisting its power. Each chapter deals first with a separate theoretical issue (e.g. literalness, style, gender, and tense) and then proceeds to examine its practical actualization in various translations of Alice. (shrink)