David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Noûs 46 (4):709-731 (2012)
What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. In this respect photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways.
|Keywords||Photography Aesthetics Epistemology Phenomenology|
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References found in this work BETA
Kendall L. Walton (1990). Mimesis as Make-Believe: On the Foundations of the Representational Arts. Harvard University Press.
Robert Hopkins (1998). Picture, Image and Experience: A Philosophical Inquiry. Cambridge University Press.
Richard Wollheim (1989). Painting as an Art. Journal of Aesthetics and Art Criticism 47 (3):281-284.
Gregory Currie (1995). Image and Mind: Film, Philosophy and Cognitive Science. Cambridge University Press.
Citations of this work BETA
Jiri Benovsky (2014). The Limits of Photography. International Journal of Philosophical Studies 22 (5):716-733.
Dan Cavedon-Taylor (2014). Belief, Experience and the Act of Picture-Making. Philosophical Explorations 17 (1):1-14.
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