Dorian Gray pays a hefty price for years of sin and vice in this completely unabridged edition of The Picture of Dorian Gray.

How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with particulars but for acquainting (...) us with certain kinds of properties. This conception is outlined in §4, where it is argued that pictures are useful devices for what Heal has called indexical predication. In §2 and §3, I explain why I believe that remote acquaintance theories are false, and why picture-perception cannot function as a form of extended or remote object-perception. The main reason is that the contents of picture-perceptions do not themselves provide the kind of numerical and contextual information required for singular thought. Picture-reference is instead secured by independent beliefs or linguistic communication about the causal history of pictures as objects. In other words, it is beliefs about the numerical identity of pictures as objects that anchors the reference of the representational contents of pictures. (shrink)

This chapter aims to attempt no more than to make some informal and unsystematic remarks on the transformation of analytic philosophy. It deals with a few sketchy remarks on the historiography of recent analytic philosophy. Writing in 1981, David Lewis described “a reasonable goal for a philosopher” as bringing one’s opinions into stable equilibrium. A natural comparison is between Lewis’s Quinean or at least post‐Quinean methodology and the methodology of Peter Strawson, Quine’s leading opponent from the tradition of ordinary language (...) philosophy. Analytic epistemology provides a good case study of the philosophical application of Gricean pragmatics outside the philosophy of language. On Michael Dummett picture of the history of philosophy, Descartes had made epistemology first philosophy, the engine for the rest of philosophy, and then Frege had replaced epistemology by the philosophy of language as first philosophy. The chapter suggests that philosophy sometimes already uses an abductive methodology and ought to use it more in the future. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

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)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...) pictures represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

Such claims are part 0f a viewpoint according t0 which mental images represent in thc manner of pictures. It is very natural t0 think that such claims are confused or nonsensical. One of my purposes here is a limited dcfcnsc of this supposedly confused doctrine, especially against its chief cognitive science rival. But this..

The most important question concerning picture perception is: what perceptual state are we in when we see an object in a picture? In order to answer this question, philosophers have used the results of the two visual systems model, according to which our visual system can be divided into two streams, a ventral stream for object recognition, allowing one to perceive from an allocentric frame of reference, and a dorsal stream for visually guided motor interaction, thus allowing one (...) to perceive from an egocentric frame of reference. Following this model, philosophers denied that we can be in a dorsal perceptual state when perceiving a depicted object. This is because a depicted object is not physically graspable or manipulable and, in turn, it cannot be egocentrically localized, as a normal object, by the dorsal stream. Thus, the impossibility of manipulating depicted objects and of localizing them from an egocentric frame of reference has led some people to be sceptical about the possibility of a representation of action properties in the perception of objects in pictures, which pertains to the dorsal visual system. The aim of the present paper is to show that it is possible for the depicted object to be represented by dorsal perception. That means that we can ascribe action properties to depicted objects as well, even if depicted objects cannot be egocentrically localized—at least, not as much as normal objects can. (shrink)

Though pictures are often used to present mathematical arguments, they are not typically thought to be an acceptable means for presenting mathematical arguments rigorously. With respect to the proofs in the Elements in particular, the received view is that Euclid's reliance on geometric diagrams undermines his efforts to develop a gap-free deductive theory. The central difficulty concerns the generality of the theory. How can inferences made from a particular diagrams license general mathematical results? After surveying the history behind the received (...) view, this essay provides a contrary analysis by introducing a formal account of Euclid's proofs, termed Eu. Eu solves the puzzle of generality surrounding Euclid's arguments. It specifies what diagrams Euclid's diagrams are, in a precise formal sense, and defines generality-preserving proof rules in terms of them. After the central principles behind the formalization are laid out, its implications with respect to the question of what does and does not constitute a genuine picture proof are explored. (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)

This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows (...) taking at face value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (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)

ABSTRACT:Are face-to-face perception and picture perception different perceptual phenomena? The question is controversial. On the one hand, philosophers have offered several solid arguments showing that, despite some resemblances, they are quite different perceptual phenomena and that pictures are special objects of perception. On the other hand, neuroscientists routinely use pictures in experimental settings as substitutes for normal objects, and this practice is successful in explaining how the human visual system works. But this seems to imply that face-to-face perception and (...) picture perception are very similar, if not actually the same. How can we decide between these two opposite intuitions? Here I offer a regimentation of the notion of picture perception that can reconcile these two apparently conflicting ideas about pictures. It follows that philosophers and neuroscientists can maintain their respective stances without any theoretical conflict. (shrink)

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

The word “picture” occurs pervasively in Wittgenstein's later philosophy. Not only does Wittgenstein often use literal pictures or the notion of mental pictures in his investigations, but he also frequently uses “picture” to speak about a way of conceiving of a matter (e.g. “A picture held us captive” at Philosophical Investigations§115). I argue that “picture” used in this conceptual sense is not a shorthand for an assumption or a set of propositions but is rather an expression (...) of conceptual bedrock on the model of an organising myth. This reading builds primarily on work by Gordon Baker and Stanley Cavell. (shrink)

Digital pictures can be type-identical in respect of colours, shapes and sizes (allographic), but they are not tokens of notational systems, because the types under which they are identical have vague limits and do not meet the requirements for notational characters. Digital display devices are designed to instantiate only limited ranges of objective properties (light intensities, sizes and shapes). Those ranges keep differences in objective magnitudes below sensory discrimination thresholds, and thus define objective conditions sufficient, but not necessary, for the (...) phenomenal type-identity of pictures. The fact that digital pictures are types shows that pictures are not necessarily autographic. Moreover, the reasons why digital pictures are allographic (essentially, the consistent manipulation of sub-phenomenal information) could in principle also be made to apply to non-digital pictures. (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)

(1) Abstract objects. The nominalist (as the label is used today) denies that there exist abstract objects. The platonist holds that there are abstract objects. One example is numbers. The nominalist denies that there are numbers; the platonist typically affirms it.

This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived as (...) a non-sensory feeling. Ordinary objects are felt but not seen to be present. On the other hand, the contents of perception are determined by the actualization of perceptual-recognitional abilities. Unlike current versions of the feeling-based account of the sense of presence, I claim that these abilities enable us to perceive worldly (partial or overall) appearances. This claim justifies the strongest interpretation of recognition theories which does not fall back on the view that pictorial experience involves a kind of perceptual illusion. (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)

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.

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 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.

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)

Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures.

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 scene, whereas our dorsal subsystem attributes properties to the surface. Keywords: picture perception; dorsal subsystem;.

Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer (...) an account of picture perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (shrink)

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass (...) media. (shrink)

Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...) Antonaccio presents the first systematic and comprehensive treatment of Murdoch's moral philosophy. Unlike literary critical studies of her novels, it offers a general philosophical framework for assessing Murdoch's thought as a whole. Antonaccio also suggests a new interpretive method for reading Murdoch's philosophy and outlines the significance of her thought in the context of current debates in ethics. This vital study will appeal to those interested in moral philosophy, religious ethics, and literary criticism, and grants those who have long loved Murdoch's novels a closer look at her remarkable philosophy. (shrink)

Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I rely on (...) Dominic Lopes' recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)

With the development of network technology, many online educational resource platforms have emerged, and the number of resources on these platforms is increasing dramatically. Compared with the traditional resources, the interactive educational resources have hidden interactive information and dynamic content. Only when the users perform interactive operations correctly can they acquire the knowledge conveyed by the resources, which makes it a challenge to help the users understand the general content of resources and find the resources that they are interested in. (...) Therefore, in this paper, we propose a method for generating picture previews of IERs. Firstly, we analyze the file that stores interactive resource information, obtain the interactive elements’ information, extract the dependencies, and generate an operation sequence. Secondly, we execute the operation sequence using an automated software tool to mimic the interaction process between the user and the resource and save the screenshots in the process to generate a picture preview of an IER. We apply this method to a dynamic geometry platform, NetPad, and conduct experiments. Experimental results demonstrate that the method can effectively extract interactive semantic information and simulate the interactive process, and the generated picture previews are of great help to the users to understand the content of IERs. (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)

This chapter contains sections titled: Illustrated Books: A First Step The Image‐Text Complex in Comics The Image The Text How Comics Work An Objection Conclusion Notes References.

The paper presents a novel account of nature and genesis of some philosophical problems, which vindicates a new approach to an arguably central and extensive class of such problems: The paper develops the Wittgensteinian notion of ‘philosophical pictures’ with the help of some notions adapted from metaphor research in cognitive linguistics and from work on unintentional analogical reasoning in cognitive psychology. The paper shows that adherence to such pictures systematically leads to the formulation of unwarranted claims, ill-motivated problems, and pointless (...) theories. To do so, the paper proceeds from a case-study on a lastingly influential development in early modern philosophy: the adoption of the doctrine of secondary qualities, and its principal consequences. The findings motivate a new approach to an arguably extensive and important class of philosophical problems: to the problems we raise in the grip of philosophical pictures. (shrink)

CHAPTER ONE PICTURING What is it for one thing to be a picture of another? There are numerous theories which purport to clarify the picturing relation, ...

Philosophers have traditionally held that propositions mark the domain of rational thought and inference. Many philosophers have held that only conceptually sophisticated creatures like us could have propositional attitudes. But in recent decades, philosophers have adopted increasingly liberal views of propositional attitudes that encompass the mental states of various non-human animals. These views now sit alongside more traditional views within the philosophical mainstream. In this paper I argue that liberalized views of propositional attitudes are so liberal that they encompass states (...) of all sorts of apparently mindless systems like circadian clocks in plants. I begin by arguing that on the most well-developed and widely endorsed theories of underived representation in philosophy, circadian clocks qualify as representations. I then argue that standard reasons for thinking that perceptual states and pictures have propositional content carry over to circadian clocks. Finally, I argue that circadian representations in plants play the kind of functional role that is widely taken to be partly constitutive of belief-like attitudes. So according to mainstream theories of representation, propositions, and attitudes, plants have propositional attitudes. Yet on other more traditional views, this conclusion would seem absurd. So, contrary to appearances, there is no shared, stable understanding of what propositional attitudes are in contemporary philosophy. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

This paper reports on objectivity and knowledge production in the process of submitting, revising, and publishing an experimental research article in cognitive neuroscience. The review process, as part of scientific practice, is of particular interest, since it puts the research team in direct dialog with a larger scientific community concerned with fMRI evidence. By bringing this often ‘black‐boxed’ dimension of the manuscript’s production into the picture, I illustrate the role that the visual brain representations played in the practice of (...) scientific fact production. This allows me to point out how the knowledge is constructed through seeing, and how the showing of the fact through images bears traits of the scientific culture of which it is part. (shrink)

In "Why Feynman Diagrams Represent", I argued that Feynman diagrams have two distinct functions: they are both calculational devices, developed to keep track of the long mathematical expressions of quantum electrodynamics,1 and they are pictorial representations. This challenges the common view that FDs are calculational devices alone and that it is misleading, if not an outright error, to think of them as pictorial. Following Kendall Walton's account of representation, I drew out what it means to think of FDs as pictures, (...) which in turn explained why FDs represent. However, my defence conceded an important point: not all of... (shrink)

What reasons are there to value pictures? I consider one: that pictures enable us to judge, and more than that to savour, the beauty (if any) of the objects they depict. I clarify and defend this claim, tentatively explore what might explain it, consider how far it might generalize beyond beauty to other features of aesthetic interest, and assess its importance for the aesthetics of pictures.

The Picture of Abjection is an analysis of independent, contemporary, international film. Appropriating Kristeva's analysis of abjection, which she developed in the context of psychoanalytic theory to designate that which a subject rejects as a site of impurity, the book takes up the abject in order to illuminate various intersections of discrimination. The focus is on how race, gender, class, sexuality, ethnicity and nationality intersect with one another in ways that involve abjection. The argument is informed by a variety (...) of disciplines, including film theory, psychoanalysis, philosophy and gender theory. The aim of the book is to enhance understanding of how film can both engage in and ameliorate the ways forms of discrimination play off one another. (shrink)

Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...) pictures stand to benefit by taking "directive pictures" into account, as do theories of representation in general and mental representation in particular. (shrink)

Philosophers have traditionally held that propositions mark the domain of rational thought and inference. Many philosophers have held that only conceptually sophisticated creatures like us could have propositional attitudes. But in recent decades, philosophers have adopted increasingly liberal views of propositional attitudes that encompass the mental states of various non-human animals. These views now sit alongside more traditional views within the philosophical mainstream. In this paper I argue that liberalized views of propositional attitudes are so liberal that they encompass states (...) of all sorts of apparently mindless systems like circadian clocks in plants. I begin by arguing that on the most well-developed and widely endorsed theories of underived representation in philosophy, circadian clocks qualify as representations. I then argue that standard reasons for thinking that perceptual states and pictures have propositional content carry over to circadian clocks. Finally, I argue that circadian representations in plants play the kind of functional role that is widely taken to be partly constitutive of belief-like attitudes. So according to mainstream theories of representation, propositions, and attitudes, plants have propositional attitudes. Yet on other more traditional views, this conclusion would seem absurd. So, contrary to appearances, there is no shared, stable understanding of what propositional attitudes are in contemporary philosophy. (shrink)