Jean Baudrillard, the scholar and critic of postmodernity, struggled with questions of postmodern ontology: representation of the real through the semioticprocess of signification is threatened with the rise of simulacra, the simulated real. With this rise, seductive semiotic relationships between signs replace any traditional ontological representamen. This struggle has implications for environmentalism since the problems of contemporary environmental philosophy are rooted in problems with ontology. Hence the question of postmodern ecology: can the natural survive postmodern simulation? Baudrillard’s communicative analysis of (...) semiotic postmodernity can both support and extend ecosemiotic theses in response to these questions, questions that must be answered in order to explore our paradoxical understandings of the natural and confirm an understanding of environmentalism for postmodernity. In this paper I will argue for the merit of a semiotic understanding of postmodernity, develop the idea of ecology in this context, and then compare Baudrillard’s approach to the contemporary development of ecosemiotics. (shrink)

Jean Baudrillard, the scholar and critic of postmodernity, struggled with questions of postmodern ontology: representation of the real through the semioticprocess of signification is threatened with the rise of simulacra, the simulated real. With this rise, seductive semiotic relationships between signs replace any traditional ontological representamen. This struggle has implications for environmentalism since the problems of contemporary environmental philosophy are rooted in problems with ontology. Hence the question of postmodern ecology: can the natural survive postmodern simulation? Baudrillard’s communicative analysis of (...) semiotic postmodernity can both support and extend ecosemiotic theses in response to these questions, questions that must be answered in order to explore our paradoxical understandings of the natural and confirm an understanding of environmentalism for postmodernity. In this paper I will argue for the merit of a semiotic understanding of postmodernity, develop the idea of ecology in this context, and then compare Baudrillard’s approach to the contemporary development of ecosemiotics. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)