The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been more popular, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of leading thinkers (including artists) who are having a major impact on making, criticizing and interpreting art. Each entry, written by a leading international expert, presents a concise, critical appraisal of a thinker and their contribution to thought about art and its place in the (...) wider cultural context. A guide to the key thinkers who shape today's world of art, this book is a vital reference for anyone interested in modern and contemporary art, its history, theory, philosophy and practice. (shrink)

Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (...) (in §1) Kendall Walton’s startling proposal that photographs are special because they are “transparent” [Walton, 1984] — that is, that they are special because, unlike other depictive representations, they enable us literally to see their depicta.1 Walton’s proposal has not convinced many; however, it has proven surprisingly difficult to say just what is wrong about the transparency thesis. In §§2–4 we’ll rise to this challenge and show why photographs are not transparent in Walton’s sense. Finally, in §§5–7 we’ll propose and defend a novel diagnosis of what is epistemically special about photographs. (shrink)

The focus of this paper is on E. H. Gombrich's claim that pictorial perception is a case of illusion. My aim is to point out that, on the one hand, the interpretation of this claim that is widely accepted in pictorial theory is not supported by Gombrich's analysis of pictorial perception; and, on the other hand, that the interpretation of the claim that I see as more compatible with Gombrich's analysis is not consistent with relevant facts about our relation to (...) pictures. However, I will argue, Gombrich's elaboration of the claim of illusion is significant to the extent that it highlights important aspects of the system of pictorial representation. (shrink)

This book is the one to put into the hands of those who have been over-impressed by Austin 's critics....[Warnock's] brilliant editing puts everybody who is concerned with philosophical problems in his debt.

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

This recently discovered manuscript by the celebrated artist Mark Rothko offers a landmark discussion of his views on topics ranging from the Renaissance to contemporary art, criticism, and the role of art and artists in society.

This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...) it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.

Ludwig Wittgenstein, who died in Cambridge in 1951, is one of the most powerful influences on contemporary philosophy, yet he shunned publicity and was essentially a private man. His friend Norman Malcolm (himself an eminent philosopher) wrote this remarkably vivid personal memoir ofWittgenstein, which was published in 1958 and was immediately recognized as a moving and truthful portrait of this gifted, difficult man.This edition includes also the complete text of the fifty-seven letters which Wittgenstein wrote to Malcolm over a period (...) of eleven years. Apart from the quotations in the Memoir these letters are previously unpublished. They reveal how much friendships mattered to Wittgenstein, and how concerned hewas for the health and well-being of his friends. His human qualities become evident; he advises, warns, jokes. and is grateful and affectionate.The volume also features a concise biographical sketch by another leading philosopher who was a friend of Wittgenstein, Georg Henrik von Wright.Much has been published about Wittgenstein since his death, but nothing brings us closer to the man himself than this modest classic of philosophical biography. (shrink)

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to (...) Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

Wittgenstein finished part 1 of the Philosophical Investigations in the spring of 1945. From 1946 to 1949 he worked on the philosophy of psychology almost without interruption. The present two-volume work comprises many of his writings over this period. Some of the remarks contained here were culled for part 2 of the Investigations ; others were set aside and appear in the collection known as Zettel . The great majority, however, although of excellent quality, have hitherto remained unpublished. This bilingual (...) edition of the Remarks on the Philosophy of Psychology presents the first English translation of an essential body of Wittegenstein's work. It elaborates Wittgenstein's views on psychological concepts such as expectation, sensation, knowing how to follow a rule, and knowledge of the sensations of other persons. It also shows strong emphasis on the "anthropological" aspect of Wittgenstein's thought. Philosophers, as well as anthropologists, psychologists, and sociologists will welcome this important publication. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

Originally conceived as a forty-page conclusion to Hacker’s twenty years of work on the monumental four-volume Analytical Commentary on the Philosophical Investigations, this book “rapidly assumed a life of its own”. A major contribution to the history of analytic philosophy, this substantial volume delivers even more than the title promises. The eight chapters are best approached as a six-chapter book, itself some 220 pages long, on Wittgenstein’s contribution to twentieth-century philosophy, followed by a two-chapter, 120-page epilogue about how and why (...) his influence has waned. The first six chapters provide an encyclopedic summary of the fruits of Hacker’s research on Wittgenstein’s writing, an immensely learned account of British philosophy from the turn of the century to the 1970s, and a detailed account of Wittgenstein’s reception by Oxford, Cambridge, and the Vienna Circle. The book’s closing chapters, “Post-positivism in the United States and Quine’s Apostasy” and “The Decline of Analytic Philosophy,” polemically argue that Quine’s philosophy, and the post-Quinean naturalism prevalent in Anglo-American philosophy today, amount to such a decisive break with the analytic tradition, as Hacker conceives of it, that they should not be counted as “analytic.”. (shrink)

Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

This chapter contains sections titled: Voluntary Action Reasons and Causes References.

This paper analyzes Kendall Walton's theory of depiction and, more specifically, his notion of twofoldness. I argue that (1) Walton’s notion of twofoldness is, in spite of what Walton claims, very different from Richard Wollheim’s and (2) Walton’s notion of twofoldness is inconsistent with the rest of his theory of depiction.

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the simultaneous (...) visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...) will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...) visual arts or the performing arts. Some claim that these questions can only be answered, or can best be answered, by studying the individual art forms. This has brought aesthetics into alignment with empirical research, which has always been concerned with individual art forms, for reasons having to do both with experimental design and with views of the mind as functionally differentiated. There is no psychological work on the perception of beauty, for example, but only on the perception of visual beauty, beauty in music and the like. Now that aesthetics is equally specialized, empirical research on the individual arts can be brought to bear upon familiar problems in aesthetics. (shrink)