According to an intuitive claim, in saying that one sees a picture's subject, i.e., what a picture presents, in the picture's vehicle, i.e., the picture's physical basis, by ‘in’ one does not mean the spatial relation of being in, as holding between such items in the real space. For the picture's subject is knowingly not in the real space where one veridically sees the picture's vehicle. Some theories of pictorial experience have actually agreed with this intuition by claiming that the (...) picture's subject lies in a pictorial space of its own, disconnected from the real space that includes the picture's vehicle. Yet, not only linguistic evidence suggests that when used as above, ‘in’ means precisely that very relation, but an appropriate theory of pictorial experience can justify the above claim. (shrink)

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

Seeing-in is the experience of seeing something in a picture. This experience is single and unified. It is not like the disjoint experience of perceiving one thing while simultaneously visualizing another. This is so despite the fact that, like the latter experience, seeing-in is twofold. It involves being visually aware of two distinct objects at the same time – an array of ink-marks, on the one hand, and the depicted scene, on the other. Plausibly, it also involves being aware of (...) them in two distinct ways: while we perceive the ink-marks before us, the manner of our visual awareness of the depicted object is not perceptual. In this paper, I offer a novel way of reconciling these two features of seeing-in. I argue that the modes of visual awareness operative in seeing-in have to be understood on the model of converse relations, like lighter and heavier, in the sense that the same state arises from the obtaining of each. (shrink)

I introduce a perceptual phenomenon so far overlooked in the philosophical literature: ‘visual evanescence’. ‘Evanescent’ objects are those that due to their structured visible appearances have a tendency to vanish or evanesce from sight at certain places and for certain ‘biologically apt’ perceivers. Paradigmatically evanescent objects are those associated with certain forms of animal camouflage. I show that reflection on visual evanescence helps create conceptual room for a treatment of looks statements not explicit in the contemporary literature, one which takes (...) its cue from the relatively neglected philosophy of perception of G.E.M. Anscombe. In sensory contexts in which evanescence is known to have occurred, the use of ‘looks invisible’ seems to be intelligible, a fact that sensationalist and objectivist treatments of the nature of looks, as I call them, cannot obviously accommodate - at least, as I explain, when coupled with what Cora Diamond (1981) describes as a ‘natural’ understanding of nonsense. Focusing on a number of imaginative scenarios in which the statement ‘looks invisible’ is permissible, I oppose these ontological treatments with the grammatical approach I draw from Anscombe and in doing so I uncover a degree of unity across the cases I consider: something can intelligibly be said to ‘look invisible’ if one can see or appears to see the entirety of the region that the ‘invisible’ thing occupies. The region ‘looks empty’ but is full. (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)