Abstract

Gibson's ecological approach to depiction is compared with Nelson Goodman's relativist theory of representation. Goodman's commitment to radical relativism and Gibson's to direct realism would make these thinkers unlikely candidates for comparison if Goodman himself had not indicated a substantial body of agreement with Gibson in the area of picture perception. The present study analyzes this agreement through systematic discussion of the following theses: realism in representation is not a function of geometrical optics, physical similarity to what is depicted, or deception; pictures differ in density and articulation from words, so that picturing has no explicit vocabulary; and artists can teach us new ways to see the world. The agreement between Goodman and Gibson has wide-ranging implications for the further development of what might be called a Gibsonian relativism.