Southern Journal of Philosophy 41 (1):45-62 (2003)
|Abstract||I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive medium, for which reason I call this kind of content medium content (or medium-related content).|
|Keywords||No keywords specified (fix it)|
|Through your library||Configure|
Similar books and articles
Christopher D. Viger (2001). Locking on to the Language of Thought. Philosophical Psychology 14 (2):203-215.
Peter F. MacNeilage & Barbara L. Davis (2003). Message and Medium: Lowly and Action-Related Origins. Behavioral and Brain Sciences 26 (3):296-297.
John Dilworth (2010). Depictive Seeing and Double Content. In Catharine Abell & Katerina Bantinaki (ed.), Philosophical Perspectives on Picturing. Oxford University Press.
Andreas Gernot Kitzmann, The Melancholic Hypertext : The Fate of the Writer in the Tangential Narrative.
John Dilworth (2002). Three Depictive Views Defended. British Journal of Aesthetics 42 (3):259-278.
John Dilworth (2002). Varieties of Visual Representation. Canadian Journal of Philosophy 32 (2):183-206.
John Dilworth (2007). In Support of Content Theories of Art. Australasian Journal of Philosophy 85 (1):19 – 39.
John Dilworth (2005). A Double Content Theory of Artistic Representation. Journal of Aesthetics and Art Criticism 63 (3):249–260.
Added to index2009-01-28
Total downloads26 ( #47,731 of 550,803 )
Recent downloads (6 months)1 ( #63,425 of 550,803 )
How can I increase my downloads?