In this paper, I set out to answer two foundational questions concerning our psychological engagements with fictions. The first is the question of fictional transformation: How we can see fictional media while also ‘seeing’ those objects as fictional ones? The second is the question of fictional response: How and why we take the objects of fiction to be the types of things that we can respond to and judge? Standard responses to these questions rely on distinct cognitive attitudes like pretense, (...) imagination, and make-believe. I call this position the distinct attitude view. I argue against the DAV, arguing instead that a psychological framework of fiction can answer the two questions without appealing to distinct mental attitudes. Hence, I call my position the standard attitude view. The challenge for the SAV is to explain the two questions in terms of everyday mental states and the intentional content of those states. I do so by appealing to the concept of taking the fictional stance.... (shrink)

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations : in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than is usually (...) considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far-reaching consequences in aesthetics. (shrink)

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