Online research in philosophy

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms.

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.

Ambition is a curiously neglected topic in ethics. It isn’t that philosophers have not discussed it. Plato, Aristotle, Seneca, Aquinas, Machiavelli, Harrington, Locke, Rousseau, Smith, Santayana and a number of others have discussed ambition. But it has seldom received more than a few paragraphs worth of analysis, in spite of the fact that ambition plays a central role in Western politics (one cannot be elected without it), and in spite of the fact that Machiavelli, Harrington, Locke and Rousseau each considered it to be among the greatest threats to political security. The aim of this paper is to provide a long overdue analysis of ambition. The first part of the paper explores what ambition is. The second seeks to answer the question, “Is ambition a virtue or a vice?”.

One might think that, while the decent person will have a modest program for moral self-development, the truly good person will be ambitious about self-improvement. However, the very notion of “moral ambition” seems to link two ideas that are fatally in tension with each other—perhaps because the typical objects of ambition (like honor or power) lack proper ethical credentials or because the outcomes of joining ambition and moral purpose (like snobbery or pride) are unsuited to the life of the good person. Further, one might worry that this ambition would mean that the good person can hope for no real contentment, “for the state in which he is now always remains an evil one by comparison with the better one into which he is preparing himself to enter.” Such concerns suggest that the seeming high-mindedness of the idea of moral ambition may be undermined either by its lack of coherence or by its ultimate undesirability. It is, however, the purpose of this paper to identify a kind of moral ambition that is both a coherent ideal and an admirable trait. We argue that, properly understood, moral ambition may even be an aspect of moral wisdom.

Abstract This paper proposes that pictures are functional objects which figure in norm?governed practices of usage yet whose specific function is to present the world as it looks to acculturated perceivers. Pictorial content presents the way the world looks to a subject's acculturated perceptual grasp. Hence, pictorial content needs to be explained in terms of a theory of perceptual content, but a novel theory which departs from the two?stage sensation?based approach to perception and the polarization between naturalism and conventionalism that it engenders. Following a diagnosis of this polarization, I invoke a novel theory of perception that explains perceptual content as conceptually articulated and determinate in character. I show that (1) pictures present content of the same distinctive determinate type as perceptual content; and that (2) pictures do so by invoking perceptual experience and perceptual processes that are of the same kind as those invoked by actual scenes. This perceptualist approach considers and explains the role of norms as well as of the nature of our visual processes, allowing us to allocate the insights of both conventionalism and naturalism to their proper theoretical roles.

The study described in this manuscript examines the extent to which children are depicted as: (a) scholarly, and (b) non-scholarly in magazine advertisements and the degree to which children in the two classes were portrayed favorably or unfavorably. The study indicated that children were often depicted in roles that were not scholarly (such as athletics). Further, when children were depicted in scholarly roles, the portrayal was often negative. Implications based upon these findings are raised.

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.

This paper addresses the cognitive status of making pictures, rather than their informational function. Discussion centres on the structure of pictorial space. Space of this kind is constituted from the relation between pictorial content's modal plasticity (that is, its capacity to represent actualities, possibilities, and nomological and metaphysical impossibilities) and the formative role of planar structure and idioms of recessional organization. On the basis of this, it is argued that alternative creative realizations and aesthetic significance are inherent to the structure of pictorial space itself qua pictorial. Such space is conceptually connected to the possibility of visual art. CiteULike Connotea Del.icio.us What's this?

I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to see them. This account meets the criteria I have identified and is superior to alternative accounts of realism.