Iconic photographs are visual arguments depicting an, often dramatic, particular situation showing victims of disasters. Spectators watching the photo of the particular situation, empathise with it, and project the feelings evoked onto the events that form the context for the scene in the picture. This mobilises them into political action. In the process, however, the depicted personal misery is perused to exemplify the larger events. The tragedy of iconic photographs is analysed not as the misery experienced by the depicted persons, (...) but as the breach of their right to shame which is required for the photo to acquire iconicity. Examples are addressed, as well as the contrast classes of the self-portrait and Byzantine icons. (shrink)

The experience of looking at a tilted penny involves a “phenomenological doubleness” in that it simultaneously seems to be of something circular and of something elliptical. In this paper, I investigate the phenomenological doubleness of this experience by comparing it to another case of phenomenological doubleness––the phenomenological doubleness of seeing an object in a painting. I begin by pointing out some striking similarities between the phenomenological characters of these two experiences. I then argue that these phenomenological characters have a common (...) explanation. More specifically, I argue that the psychological mechanism that explains the phenomenological doubleness of the experience of seeing an object in a painting can be extended to also explain the phenomenological doubleness of the experience of seeing a tilted penny. (shrink)

What is it for a picture to be more realistic, or more depictive, than another? Without committing to any thesis as to what depiction consists in, I show that degrees of depictiveness are grounded in a certain relation between two basic kinds of differences between pictures: configurational differences and content differences. A picture is thus more depictive just in case it is seen as having fewer nondepictive features, whereas a nondepictive feature is individuated through the susceptibility of the picture's configuration (...) to change without entailing any change in the picture's content. (shrink)

My dissertation contributes to a central and ongoing debate in the philosophy of perception about the fundamental nature of perceptual states. Such states include cases like seeing, hearing, or tasting as well as cases of merely seeming to see, hear, or taste. A central question about perceptual states arises in light of misperceptual phenomena. A commonsensical view of perceptual states construes them as simply relating us to the external and mind independent objects. But some misperceptual cases suggest that these states (...) fall short of contact with the world. The result is that perceptual states are either thought to fundamentally consist in a highest common factor that falls short of perceptual contact with the world, or are thought to be disjunctive in nature, with some cases involving perceptual contact, and others receiving a different analysis. Contrary to these views, I argue that no misperceptual cases compromise perceptual contact with worldly objects, so perceptual states should be understood as relations to the external and mind-independent world. I call this view I defend Pure Relationalism, and the view of misperceptual cases that makes pure relationalism possible Illusionism. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)