We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes and the enduring entities that participate therein. For this purpose we introduce the notion a directly depicting ontology. Directly depicting ontologies are based on relatively simple languages and fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and employ distinct though compatible systems of categories. A SNAP (snapshot) ontology comprehends enduring entities (...) such as organisms, geographic features, or qualities as they exist at some given moment of time. A SPAN ontology comprehends perduring entities such as processes and their parts and aggregates as they unfold themselves through some temporal interval. We give an axiomatic account of the theory of directly depicting ontologies and of the core parts of the metaontological fragment within which they are embedded. (shrink)
In a recent paper in this journal, 'Pictures, Colour and Resemblance', Michael Newall criticizes my views about how colours are depicted. In this reply, I set out my views and then discuss Newall's criticism of them.
According to Pylyshyn, depictive representations can be explanatory only if a certain kind of first-order isomorphism exists between the mental representations and real-world displays. What about a system with second-order isomorphism (similarities between different mental representations corresponding with similarities between different real-world displays)? Such a system may help to address whether “depictive” representations contribute to the visual nature of imagery.
According to Hector-Neri Castañeda, indexical reference is our most basic means of identifying the objects and events we experience and think about. Its tokens reveal our own part in the process by denoting what are "referred to as items present in experience" (Castañeda 1981, 285-6). If you hear me say, "Take that box over there and set it next to this box here," you learn something about my orientation towards the referents in a way that is not conveyed by, "Take (...) the red box and set it next to the blue box." My indexical tokens express what they do not only because they issue from a unique spatio-temporal perspective that I happen to occupy, but also because they reflect my encounter with referents that are differently situated in that perspective. From your perspective, my here might be your there, my you your she, and within my own, a this differs from a that and one this diverges from another. Encounter and orientation within a perspective are the essential ingredients in indexical identification without which particular 'this's, 'that's, 'then's, 'here's, and 'beyond's would be denuded of individuating powess.1 There are several consequences of this description. First, indexical reference is ephemeral because perspective is constantly changing, rendering the indexical status of an entity relative to a given perspective temporary: 1 A this quickly turns into a that, and soon enough it is lost to experience and is not even a remote that; a you goes away and is replaced by another . . . Nothing is really an enduring you -- except God perhaps for the abiding mystic. (Castañeda 1989a, 69) Second, indexical reference is irreducible since non-indexical mechanisms of reference fail to express the subject's involvement or encounter with the referents that indexicals convey. Nor can the various indexicals be reduced to each other.2 Third, because each perspective is unique, indexical reference is essentially subjective.. (shrink)
The aim of this paper is to demonstrate that empirically delimited structures of mind are also differentiable by means of systematic logical analysis. In the sake of this aim, the paper first summarizes Demetriou's theory of cognitive organization and growth. This theory assumes that the mind is a multistructural entity that develops across three fronts: the processing system that constrains processing potentials, a set of specialized structural systems (SSSs) that guide processing within different reality and knowledge domains, and a hypecognitive (...) system that monitors and controls the functioning of all other systems. In the second part the paper focuses on the SSSs, which are the target of our logical analysis, and it summarizes a series of empirical studies demonstrating their autonomous operation. The third part develops the logical proof showing that each SSS involves a kernel element that cannot be reduced to standard logic or to any other SSS. The implications of this analysis for the general theory of knowledge and cognitive development are discussed in the concluding part of the paper. (shrink)
This paper provides a provisional examination of Rod Watson''s work and contributions to EM/CA/MCA, in part through a critique of misrepresentations of his arguments in secondary accounts of his work. The form of these misrepresentations includes adumbration and traducement of his arguments. Focusing on the reflexivity of category and sequence and turn-generated categories, we suggest that his analytic position within ethnomethodological fields is unique and remarkable, yet largely unacknowledged. We argue that a re-examination of the body of Watson''s (...) work makes relevant explicit and appropriate acknowledgement of his contributions through his unconventional approach and his extension of prior works in novel and stimulating directions. (shrink)
According to the dominant historiographical narrative, the social reconstructionists were a homogeneous group with a shared social, political, economic, and educational agenda. However, the pages of the journal The Social Frontier are replete with evidence that they were not in agreement on significant issues, especially when it came to the proper role of teachers in reform efforts. In fact, a close look reveals that the social reconstructionists presented multiple, overlapping, and often conflicting theories and strategies to advance the reconstruction of (...) society, while explicating different roles for teachers therein. When teachers are placed at the center of the investigation, their factionalism, which has been discussed previously by C.A. Bowers and James Giarelli in their studies of the journal, is conspicuously apparent. Analysis of the different conceptions of teachers presented in The Social Frontier (subsequently titled Frontiers of Democracy) reveals that collectively, the social reconstructionists engaged in “more than one struggle”; and individually, they held views that were influenced by personal priorities and responses to the Depression, the spread of Communism and Fascism, the start of war in Europe and Asia, and, eventually, the involvement of the United States in World War II. (shrink)
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.
The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)
Habitat dioramas depicting ecological relations between organisms and their natural environments have become the preferred mode of museum display in most natural history museums in North America and Europe. Dioramas emerged in the late nineteenth century as an alternative mode of museum installation from taxonomically arranged cases. We suggest that this change was closely connected to the emergence of a biogeographical framework rooted in evolutionary theory and positing the existence of distinct biogeographical zones. We tie the history of dioramas (...) to earlier visual resources such as the thematic images that Wallace introduced to illustrate his 1876 Geographical Distribution of Animals. These images were unique in their time because each of them simultaneously depicted animals from several different taxa, rather than only one, as well as the ecological relations between animals and their habitats. Both, visually and with respect to their function within biogeography, these images presaged the habitat dioramas that came shortly afterwards. Not coincidentally, Wallace explicitly advocated the use of dioramas for museum display in ongoing debates on museum reform. Wallace's suggestions were put into practice by committed evolutionists such as Gottlieb von Koch who pioneered the diorama installation in the Grand Ducal Museum in Darmstadt (Germany) in 1906. As in Wallace's illustrations, Koch's dioramas were designed to respresent biogeographical zones. This paper explores the function of these visual displays of biogeographical relations. It argues that, in both the scientific and public realms, biogeogaphical zones were defined and constructed by visual means; recourse to visual representation was more than a method of communication. (shrink)
Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They have especially inspired those who think that in order to understand depiction we should understand the specific kind of visual experience depictions arouse in the viewer (e.g. Gombrich [1960], Wollheim [1968; 1987]). In this paper I would like to go a different way. My hypothesis is that certain of Wittgenstein’s claims both in the Tractatus and in his later writings resonate well within the context of an objective resemblance (...) account of depiction (Hyman, 2006). (shrink)
There is a common assumption about pictures, that seeing them produces in us something like the same effects as seeing the things they depict. This assumption lies behind much empirical research into vision, where experiments often expose subjects to pictures of things in order to investigate the processes involved in cognizing those things themselves. Can philosophy provide any justification for this assumption? I examine this issue in the context of Flint Schier's account of pictorial representation. Schier attempts to infer the (...) assumption from what he takes to be the fundamental facts about picturing. I argue that there is no plausible form of Schier's basic claims from which the assumption can be inferred. I then reject a second argument, that by appealing to the assumption Schier could explain why it is impossible to depict a particular without depicting it as having certain properties. I conclude that those sympathetic to the assumption need to articulate and defend some version of it suited to their needs. (shrink)
It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.
By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.
It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures in (...) an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)
This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...) to foundational questions about what makes it the case that depictions have the syntactic and semantic properties they do. (shrink)
My aim is to show that the accounts of depiction offered by Christopher Peacocke and Robert Hopkins assume rather than explain one of the central features of depiction. This feature is pictorial realism. It is a constraint upon any adequate theory of depiction that it be able to explain pictorial realism; however, Peacocke and Hopkins seek to meet this constraint by employing the notion of resemblance. I raise three problems with Peacocke's account and point out an error in Hopkins's use (...) of solid angles (upon which his notion of resemblance rests). It is suggested that while these theories must be rejected, there are various non-resemblance theories, including that proposed by Gombrich, which might prove adequate. (shrink)
In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his (...) overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)
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. (shrink)
Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...) argue, reveals a much cited disanalogy between depiction and description is illusory: the structure of pictures, like language, is compositional. (shrink)
The main task of this paper is to understand if and how static images like photographs can represent and/or depict temporal extension (duration). In order to do this, a detour will be necessary to understand some features of the nature of photographic representation and depiction in general. This important detour will enable us to see that photographs (can) have a narrative content, and that the skilled photographer can 'tell a story' in a very clear sense, as well as control and (...) guide the attention of the spectator of the photograph. The understanding and defence of this claim is a secondary aim of this paper, and it will then allow us to provide a good treatment of the particular case of photographic representation and depiction of temporal extension. (shrink)
John Hyman has used the objective character of occlusion shapes and of relative occlusion sizes to develop a more objective approach both in the analysis of linear perspective and in the theory of depiction. To this end Hyman develops two Occlusion Principles, plus an Aperture Colour Principle (which I do not discuss), which, together with our knowledge of appearances, are supposed to tell us what a picture depicts. I argue that Hyman underestimates the crucial role of the psychological element in (...) the work that the objective occlusion shape and relative occlusion sizes are assigned to do. Two pictures may have different contents in spite of the same occlusion shapes and the same (relative) occlusion sizes. It is the operation of constancy scaling in pictorial space which frustrates Hyman’s objectivism both in the domain of linear perspective and in the domain of depiction. (shrink)
Tye argues that visual mental images have their contents encoded in topographically organized regions of the visual cortex, which support depictive representations; therefore, visual mental images rely at least in part on depictive representations. This argument, I contend, does not support its conclusion. I propose that we divide the problem about the depictive nature of mental imagery into two parts: one concerns the format of image representation and the other the conditions by virtue of which a representation becomes a depictive (...) representation. Regarding the first part of the question, I argue that there exists a topographic format in the brain but that does not imply that there exists a depictive format of image representation. My answer to the second part of the question is that one needs a content analysis of a certain sort of topographic representations i n order to make sense of depictive mental representations, and a topographic representation becomes a depictive representation by virtue of its content rather than its form. (shrink)
This study utilized a content analysis of magazine advertisements to measure the frequency that senior citizens were used as models in the advertisements and the extent to which they were presented in a desirable or undersirable light, relative to younger persons. A sample of consumer magazines was examined, in order to assess hypotheses related to the depiction of seniors by advertisers. The research results were analyzed and conclusions drawn which can be of potential value to marketers whose goods and services (...) have potential appeal to older consumers. (shrink)
This paper is part of a longer project on the semantics of depiction verbs and their associated relational nouns. Depiction verbs include verbs for physical acts, such as ‘draw’ (with relational noun ‘drawing’), ‘sketch’, ‘caricature’, ‘sculpt’, ‘write (about)’, and verbs for mental ones, such as ‘visualize’, ‘imagine’, and ‘fantasize’.
This is the first book to approach depictive secondary predication - a hot topic in syntax and semantics research - from a crosslinguistic perspective. It maps out all the relevant phenomena and brings together critical surveys and new contributions on their morphosyntactic and semantic properties.
This study involved a content analysis of the degree of portrayal and the favoribility of portrayal of African American children, as they were cast in various roles. It was hypothesized that these children would be less frequently and less positively portrayed in scholarly than in other roles and that scholarly depiction would vary among product classes. The research results did not support the first two but did support the third hypothesis. Various implications of the findings were drawn.
This article argues that Agamben's ?paradigmatic method? leads to particular choices in his depiction of the figure of the homo sacer. Reviewing this project also suggests that there's more to history?the example given is the story of homo sacer?than Agamben's method would ever leave us to say. In other words, there are still resources in the tradition for something new, and thus there is much more left to say about its legacies.
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 manuscript provides coverage of an inquiry into the depiction of the roles assumed by high school models in television commercials. Hypotheses propose that learning-related activities are less often presented than other activities and when presented tend to be less favorable than other activities. The study produces evidence to the effect that scholastic roles occupy a less important position and are less favorably depicted, as compared to other roles. However, a large proportion of the models in the advertisements were presented (...) in a positive manner. (shrink)
Machine generated contents note: -- List of figures -- Acknowledgements -- Introduction -- Convention -- Seeing and the Experience of Pictures -- A Theory of Depiction -- Resemblance -- Transparency and Resemblance -- Realism -- Varieties of Realism -- Abstraction -- Notes -- Index.
How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with particulars but for acquainting us (...) with certain kinds of properties. This conception is outlined in §4, where it is argued that pictures are useful devices for what Heal has called indexical predication. In §2 and §3, I explain why I believe that remote acquaintance theories are false, and why picture-perception cannot function as a form of extended or remote object-perception. The main reason is that the contents of picture-perceptions do not themselves provide the kind of numerical and contextual information required for singular thought. Picture-reference is instead secured by independent beliefs or linguistic communication about the causal history of pictures as objects. In other words, it is beliefs about the numerical identity of pictures as objects that anchors the reference of the representational contents of pictures. (shrink)
Abstract: Interpretations of the Tractatus divide into what might be called a metaphysical and an anti-metaphysical approach to the work. The central issue between the two interpretative approaches has generally been characterised in terms of the question whether the Tractatus is committed to the idea of ‘things’ that cannot be said in language, and thus to the idea of a distinctive kind of nonsense: nonsense that is an attempt to say what can only be shown. In this paper, I look (...) at this dispute from a different perspective, by focusing on the treatment of the concept of internal relations. By reference to the work of Peter Hacker, Hidé Ishiguro and Cora Diamond, I show how this concept is understood quite differently in each of the two interpretative traditions. I focus particularly on how Wittgenstein's idea of the ‘internal relation of depicting that holds between language and the world’ (Tractatus 4.014) might be understood within the two interpretative approaches. I offer some reasons in support of the anti-metaphysical treatment of the concept. (shrink)
Ever since their invention, photographic images have often been thought to be a special kind of image. Often, photography has been claimed to be a particularly realistic medium. At other times, photographs are said to be epistemically superior to other types of image. Yet another way in which photographs apparently are special is that our subjective experience of looking at photographs seems very different from our experience of looking at other types of image, such as paintings and drawings. While the (...) other seemingly distinctive aspects of photography have been quite thoroughly discussed in the literature, theories of the experience of photography, or in other words, theories of its special phenomenology, are less common. To be sure, the phenomenon has often been pointed out and described, but explanations of the phenomenology of photography are rare. In this essay, I attempt an explanation of at least part of the phenomenology of photography by appealing to the idea, borrowed from André Bazin, that a photograph is a certain kind of trace. Along the way, it is also argued that Kendall Walton's so called “transparency thesis” cannot give a plausible explanation of the phenomenology associated with looking at photographs. (shrink)
The possibilities of depicting non-existents, depicting non-particulars and depictive misrepresentation are frequently cited as grounds for denying the platitude that depiction is mediated by resemblance. I first argue that these problems are really a manifestation of the more general problem of intentionality. I then show how there is a plausible solution to the general problem of intentionality which is consonant with the platitude.
This paper analyzes the number of procedural and substantive tension points with which a conscientious whistleblower struggles. Included in the former are such questions as: (1) Am I properly depicting the seriousness of the problem? (2) Have I secured the information properly, analyzed it appropriately, and presented it fairly? (3) Are my motives appropriate? (4) Have I tried fully enough to have the problem corrected within the organization? (5) Should I blow the whistle while still a member of the (...) organization or after having left it? (6) Should I keep anonymity? (7) How ethical is it to assume the role of a judge? (8) How ethical is it to set in motion an act which will likely be very costly to many people? Substantive tension points include such questions as: (1) How fully am I living up to my moral obligations to my organization and my colleagues? (2) Am I appropriately upholding the ethical standards of my profession? (3) How adversely will my action affect my family and other primary groups? (4) Am I being true to myself? (5) How will my action affect the health of such basic values as freedom of expression, independent judgment, courage, fairness, cooperativeness, and loyalty? (shrink)
I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of pictures: (...) the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)
One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)
We seem, or so it seems to some theorists, to experience a rich stream of highly detailed information concerning an extensive part of our current visual surroundings. But this appearance, it has been suggested, is in some way illusory. Our brains do not command richly detailed internal models of the current scene. Our seeings, it seems, are not all that they seem. This, then, is the Grand Illusion. We think we see much more than we actually do. In this paper (...) I shall (briefly) rehearse the empirical evidence for this rather startling claim, and then critically examine a variety of responses. One especially interesting response is a development of the so-called ‘skill theory’, according to which there is no illusion after all. Instead, so the theory goes, we establish the required visual contact with our world by an ongoing process of active exploration, in which the world acts as a kind of reliable, interrogable, external memory (Noe, Pessoa and Thompson (2000), Noe (2001). The most fully worked-out versions of this response ( Noe and O’Regan (2000), O’Regan and Noe 2001) tend, however, to tie the contents of conscious visual experience rather too tightly to quite low-level features of this ongoing sensorimotor engagement. This (I shall argue) undervalues the crucial links between perceptual experience, reason and intentional action, and opens the door to a problem that I will call ‘sensorimotor chauvinism’: the premature welding of experiential contents to very specific details of our embodiment and sensory apparatus. Drawing on the dual visual systems hypothesis of Milner and Goodale (1995), I sketch an alternative version of the skill theory, in which the relation between conscious visual experience and the low-level details of sensorimotor engagement is indirect and non-constitutive. The hope is thus to embrace the genuine insights of the skill theory response, while depicting conscious visual experience as most tightly geared to knowing and reasoning about our world.. (shrink)
My paper takes issue both with the standard view that the Tractatus contains a correspondence theory and with recent suggestions that it features a deflationary or semantic theory. Standard correspondence interpretations are mistaken, because they treat the isomorphism between a sentence and what it depicts as a sufficient condition of truth rather than of sense. The semantic/deflationary interpretation ignores passages that suggest some kind of correspondence theory. The official theory of truth in the Tractatus is an obtainment theory – a (...) sentence is true iff the state of affairs it depicts obtains. This theory differs from deflationary theories in that it involves an ontology of states of affairs/facts; and it can be transformed into a type of correspondence theory: a sentence is true iff it corresponds to, i.e. depicts an obtaining state of affairs (fact). Admittedly, unlike correspondence theories as commonly portrayed, this account does not involve a genuinely truth-making relation. It features a relation of correspondence, yet it is that of depicting, between a meaningful sentence and its sense – a possible state of affairs. What makes for truth is not that relation, but the obtaining of the depicted state of affairs. This does not disqualify the Tractatus from holding a correspondence theory, however, since the correspondence theories of Moore and Russell are committed to a similar position. Alternatively, the obtainment theory can be seen as a synthesis of correspondence, semantic and deflationary approaches. It does justice to the idea that what is true depends solely on what is the case, and it combines a semantic explanation of the relation between a sentence and what it says with a deflationary account of the agreement between what the sentence says and what obtains or is the case if it is true. (shrink)
This paper presents an 'internal' criticism of Winch's seminal 'Understanding a Primitive Society'. It distinguishes between two contrasting approaches to critical social understanding: (1) the metaphysical approach, central to the whole tradition of critical philosophy and critical social theory from Kant, through Marx to the Frankfurt School and contemporary theorists such as Habermas and Searle; (2) the descriptive approach, advocated by Winch, and which derives from Wittgenstein's critique of philosophical theory. It is argued, against a long tradition of 'critical theory' (...)depicting Wittgenstein's philosophy as irredeemably 'conservative', that the descriptive approach is perfectly apt for generating a critical understanding of central Western institutions. Rather than seeking to provide an explanatory theory through which to discern what allegedly is imperceptible to theoretically unaided perception (i.e. the metaphysical approach), the descriptive approach aims for a 'perspicuous presentation' of our everyday practices and institutions in such a way as to see their 'irrational' and 'alienating' dimensions. Winch's basic position in 'Understanding a Primitive Society' is endorsed, but it is argued that ultimately he fails in his descriptive intent. In place of the Christian prayer analogy that Winch invokes in order to make sense of Zande witchcraft, it is proposed that Western commodity production and exchange provide a more appropriate, instructive, and critical comparison. (shrink)
In their study of reasoning with diagrammatic and non-diagrammatic representations, Larkin and Simon (1987) are concerned with _external_ representations and explicitly avoid drawing inferences about the bearing of their work on the issue of internal, mental representations. Nonetheless, we may infer the bearing of their work on internal representations from the theories of Kosslyn, Finke and other ‘pictorialists’ who take internal representations to be importantly like external ones regarding their ‘privileged’ spatial properties of depicting and resembling their referents. Thus, (...) Finke (1990) suggests that “perceptual interpretive processes are applied to mental images in much the same way that they are applied to actual physical objects. In this sense, imagined objects can be “interpreted” much like physical objects” (1990, p. 18). Elsewhere he suggests that “The image discoveries which then ‘emerge’ resemble the way perceptual discoveries can follow the active exploration and manipulation of physical objects” (1990, p. 171). (shrink)
I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)
Creationists who object to evolution in the science curriculum of public schools often cite Jonathan Well’s book Icons of Evolution in their support (Wells 2000). In the third chapter of his book Wells claims that neither paleontological nor molecular evidence supports the thesis that the history of life is an evolutionary process of descent from preexisting ancestors. We argue that Wells inappropriately relies upon ambiguities inherent in the term ‘Darwinian’ and the phrase ‘Darwin’s theory’. Furthermore, he does not accurately distinguish (...) between the overwhelming evidence that supports the thesis of common descent and controversies that pertain to causal mechanisms such as natural selection. We also argue that Wells’ attempts to undermine the evidence in support of common descent are flawed and his characterization of the relevant data is misleading. In particular, his assessment of the ‘Cambrian explosion’ does not do justice to the fossil record. Nor do his selective references to debate about molecular and paleontological phylogenies constitute a case against common descent. We conclude that the fossil and molecular evidence is more than sufficient to warrant science educators to present common descent as a well-established scientific fact. We also argue that diagrams depicting the ‘tree of life’ can be pedagogically useful as simplified representations of the history of life. (shrink)
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)
What is the connection between philosophy as studied in universities and those general views of man and reality which are commonly considered "philosophy"? Through his attempt to rediscover this connection, Craig offers a view of philosophy and its history since the early 17th century. Craig discusses the two contrary visions of man's essential nature that dominated this period--one portraying man as made in the image of God and required to resemble him as closely as possible, the other (...) class='Hi'>depicting man as the autonomous creator of his own environment and values--and uses this context to clarify previously opaque textual detail. Illustrating how general concepts embodied by philosophical thought can be embodied in other media--especially literary--the author brings together disparate disciplines; he also reveals striking similarities between Anglo-American and certain 20th-century continental European lines of thought. (shrink)
It is argued, on the basis of ideas derived from Wittgenstein's Tractatus and Husserl's Logical Investigations, that the formal comprehends more than the logical. More specifically: that there exist certain formal-ontological constants (part, whole, overlapping, etc.) which do not fall within the province of logic. A two-dimensional directly depicting language is developed for the representation of the constants of formal ontology, and means are provided for the extension of this language to enable the representation of certain materially necessary relations. (...) The paper concludes with a discussion of the relationship between formal logic, formal ontology, and mathematics. (shrink)
Harry Collins interprets Hubert Dreyfus’s philosophy of embodiment as a criticism of all possible forms of artificial intelligence. I argue that this characterization is inaccurate and predicated upon a misunderstanding of the relevance of phenomenology for empirical scientific research.
Neither the apparently cold-blooded murder of a complete stranger, the central event in The Stranger, nor Hugo's murder of Hoederer in Dirty Hands—a political assassination or crime of passion, depending on how one views it—can be considered unusual acts, in literature or in life. The topic of murder has itself created an extremely popular genre: the detective novel or "whodunit," which has become a huge industry and has aficionados everywhere, Sartre being one. In French theater, the topic of political assassination (...) has resulted in such famous plays as de Musset's Lorenzaccio (1834), which ostensibly deals with Florence in the sixteenth century and the tyrannical Alexandre de Médicis, who is assassinated by his young cousin, but is in fact "a limpid transposition of the failed revolution of July 1830." It is well known that Sartre was an admirer of Musset and Romantic theater. In 1946, Jean Cocteau, who helped with the staging of Les Mains sales (Dirty Hands), wrote L'Aigle ` deux têtes (The Two-Headed Eagle), which was inspired "by the sad life of Empress Elisabeth of Austria and her tragic death by the hand of the Franco-Italian assassin, Luigi Lucheni." Sartre himself, in Nausea, has Anny use the engraving in Michelet's Histoire de France depicting the assassination of the Duke de Guise as a perfect illustration of "privileged situations.". (shrink)
The purpose of this study was to examine the nature and extent to which cultural differences bear on perceptions of ethical Organizational Development consulting behaviors. U.S. (n=118) and Taiwanese (n=267) business students evaluated eleven vignettes depicting potential ethical dilemmas. Respondents judged the ethicality of each vignette, the likelihood of the event's occurrence and the party responsible for the event's occurrence. Multivariate Analyses of Variance revealed significant cultural differences in perceptions of ethicality, and group differences in perceptions of the events' (...) likelihood of occurrence. U.S. subjects provided higher ethicality ratings than the Taiwanese, and lower ratings on the likelihood of occurrence. Response distributions resulting from the identification of the responsible party were similar for six of the eleven vignettes. When differences did occur, it appeared that the Taiwanese were more inclined than the U.S. subjects to view responsibility as shared by the client and the consultant. The results suggest the need for the incorporation of cultural differences in a code of ethics for the profession and the need for cross-cultural ethics training for partitioners. (shrink)
This study investigates antecedents of corporate social responsibility (CSR) in multinational corporations' (MNCs') subsidiaries. Using stakeholder theory and institutional theory that identify internal and external pressures for legitimacy in MNCs' subsidiaries, we integrate international business and CSR literatures to create a model depicting CSR practices in MNCs' subsidiaries. We propose that MNCs' subsidiaries will be likely to adapt to local practices to legitimize themselves if they operate in host countries with different institutional environments and demanding stakeholders. We also predict (...) that MNCs' subsidiaries will be likely to adapt to local practices to avoid spillover effects if their parent companies suffer major legitimacy problems at home or abroad. However, we speculate that MNCs' subsidiaries will be less likely to adapt to local practices if they are strongly annexed to their parent companies and the benefit to gain internal legitimacy outweighs external legitimacy. This article contributes to the discourse on CSR across borders by exploring the antecedents of CSR practices in MNCs' subsidiaries at social and organizational levels, and integrating institutional and stakeholder views. We provide a number of propositions for future studies and explore implications for practitioners. (shrink)
It has not been uncommon to maintain that our experiences of pictures are essentially, even if only partially, imaginative.1 This view seems, however, incompatible with what may be called the Agency Account of imaginings, according to which imaginings are mental actions of a certain kind. In this paper, I would like to contribute to the defence of this promising theory of imaginings by trying to undermine the idea that pictorial experience should be accounted for in terms of imagining.
Across cultures people construct spatial representations of time. However, the particular spatial layouts created to represent time may differ across cultures. This paper examines whether people automatically access and use culturally specific spatial representations when reasoning about time. In Experiment 1, we asked Hebrew and English speakers to arrange pictures depicting temporal sequences of natural events, and to point to the hypothesized location of events relative to a reference point. In both tasks, English speakers (who read left to right) (...) arranged temporal sequences to progress from left to right, whereas Hebrew speakers (who read right to left) arranged them from right to left, replicating previous work. In Experiments 2 and 3, we asked the participants to make rapid temporal order judgments about pairs of pictures presented one after the other (i.e., to decide whether the second picture showed a conceptually earlier or later time-point of an event than the first picture). Participants made responses using two adjacent keyboard keys. English speakers were faster to make “earlier” judgments when the “earlier” response needed to be made with the left response key than with the right response key. Hebrew speakers showed exactly the reverse pattern. Asking participants to use a space-time mapping inconsistent with the one suggested by writing direction in their language created interference, suggesting that participants were automatically creating writing-direction consistent spatial representations in the course of their normal temporal reasoning. It appears that people automatically access culturally specific spatial representations when making temporal judgments even in nonlinguistic tasks. (shrink)
The year that Ludwig Wittgenstein was born in Vienna, 1889, nearby developments already underway portended two major changes of the coming century: the advent of controlled heavier-than-air flight and the mass production of musical sound recordings. Before they brought about major social changes, though, these innovations appeared in Europe in the form of children’s toys. Both appeared in Europe in time for Ludwig’s childhood and both reappear in his work as an adult. The relationship between the advent of flight and (...) Wittgenstein’s claim in Tractatus Logico-Philosophicus that a proposition is a picture, is a topic in its own right (Sterrett 2000, 2002). In this essay, I consider the way Wittgenstein employed some kinds of sound recordings (but not others) in discussing logical form in the Tractatus. (shrink)
This essay is an attempt towards a phenomenology of God. The leading question in our analysis will be whether God could be given to consciousness as a phenomenon. First, we go back to Husserl and to his formulation of the possibility of phenomenality. Then, the discussion proceeds to the innovative reappropriation of Husserlian phenomenology by Jean-Luc Marion and his notion of the saturated phenomenon. Finally, I propose that God can “appear” only through an “inverted intentionality,” such as it is exemplified (...) in certain divine manifestations recorded in Scripture, in the techniques of depicting the divine in icons, and finally, in the human person. (shrink)
Metaphysics and Transcendence takes up this story for the future. Arthur Gibson presents a new metaphysics with a genealogy based on counter-intuition and locates counter-intuition and complexity at the foundations of truth. Having devised fresh concepts on the basis of the new frontiers of science and philosophy, the author presents original explanations of transcendence arguing that just as we need revolutionary and original ways of depicting the physical world, so it is with such topics as God, miracles, (...) the resurrection, the source and identity of consciousness and reason itself. (shrink)
Research on brain or cognitive/affective processes, culture, social interaction, and structural analysis are overlapping but often independent ways humans have attempted to understand the origins of their evolution, historical, and contemporary development. Each level seeks to employ its own theoretical concepts and methods for depicting human nature and categorizing objects and events in the world, and often relies on different sources of evidence to support theoretical claims. Each level makes reference to different temporal bandwidths (milliseconds, seconds, minutes, hours, days, (...) months, years, decades, and centuries) and focuses on different spatio-temporal activities and controlled and non-controlled stimulus conditions. Biological mechanisms and environmental pressures for survival simultaneously created a gradual intersection and enhancement of cognitive/affective skills, cultural practices, and changes in collaborative social interaction and communicative skills. The evolution of a given level of analysis is assumed to have been incremental and overlapping. These innovative and independent ways humans have learned to characterize their brain or cognitive/affective and social/economic/political life often depend on unexamined, representational re-descriptions or cognitive/affective and socio-cultural devices and forms of communication that facilitate the depiction of practices and beliefs we attribute to respondents or subjects and research colleagues. (shrink)
Eating Disorders, particularly anorexia and bulimia, are of immense contemporary importance and interest. News stories depicting the tragic effects of eating disorders command wide attention. Almost everybody in society has been touched by eating disorders in one way or another, and contemporary obsession with body image and diet fuels fascination with this problem. It is unclear why people develop eating disorders. Clinical and sociological studies have provided important information relating to the relational systems in which eating disorders are mainly (...) found. This paper shows that their explanations are not conclusive and points out that the reasons why people develop eating disorders should not be found in the dysfunctional interactions occurring in both familial and social systems, but in the moral beliefs that underlie these interactions. Eating disorders are impossible to understand or explain, unless they are viewed in the light of these beliefs. A moral logic, that is a way of thinking of interpersonal relations in moral terms, gives shape to and justifies the clinical condition, and finds consistent expression in abnormal eating behaviour. The analysis offered here is not mainstream either in philosophy (eating disorders are in fact seldom the subject of philosophical investigation) or in clinical psychology (the methods of philosophical analysis are in fact seldom utilised in clinical psychology). However, this paper offers a important contribution to the understanding of such a dramatic and widespread condition, bringing to light the deepest reasons, which are moral in nature, that contribute to the explanation of this complex phenomenon. (shrink)
Patricia Williams made a number of claims concerning the methods and practise of cladistic analysis and classification. Her argument rests upon the distinction of two kinds of hierarchy: a divisional hierarchy depicting evolutionary descent and the Linnean hierarchy describing taxonomic groups in a classification. Williams goes on to outline five problems with cladistics that lead her to the conclusion that systematists should eliminate cladism as a school of biological taxonomy and to replace it either with something that is philosophically (...) coherent or to replace it with pure methodology, untainted by theory (Williams 1992, 151). Williams makes a number of points which she feels collectively add up to insurmountable problems for cladistics. We examine Williams' views concerning the two hierarchies and consider what cladists currently understand about the status of ancestors. We will demonstrate that Williams has seriously misunderstood many modern commentators on this subject and all of her five persistent problems are derivable from this misunderstanding. Some persons believe and argue, on grounds approaching faith it seems to me, that phylogeny comes from our knowledge of evolution. Others have found to their surprise, and sometimes dismay, that phylogeny comes from our knowledge of systematics. Nelson (1989, 67). (shrink)
Using a cross-modal semantic priming paradigm, both experiments of the present study investigated the link between the mental representations of iconic gestures and words. Two groups of the participants performed a primed lexical decision task where they had to discriminate between visually presented words and nonwords (e.g., flirp). Word targets (e.g., bird) were preceded by video clips depicting either semantically related (e.g., pair of hands flapping) or semantically unrelated (e.g., drawing a square with both hands) gestures. The duration of (...) gestures was on average 3,500 ms in Experiment 1 but only 1,000 ms in Experiment 2. Significant priming effects were observed in both experiments, with faster response latencies for related gesture–word pairs than unrelated pairs. These results are consistent with the idea of interactions between the gestural and lexical representational systems, such that mere exposure to iconic gestures facilitates the recognition of semantically related words. (shrink)
Abstract Previous work has found few gender differences in moral orientation among children. Two experiments were conducted with third grade children (8?year?olds) to learn if children's moral orientation would be affected by the gender of dilemma characters: all male, all female, or mixed gender. Children responded to stories in which animal characters faced a conflict. Children's suggestions as to how the characters should solve their problems were coded as expressing a concern for others (care orientation) or a focus on issues (...) of rights and justice (rights orientation). Both boys and girls showed a small but consistent preference for the care orientation, and their reasoning was not influenced by the gender of the characters. Children tended to misremember female animal story characters as male (Experiment 1), unless an illustration depicting the characters? gender accompanied the text (Experiment 2). Overall, the results point to the role of children's literature in creating stereotyped expectations about male and female story characters, and emphasise the initial similarity of boys? and girls? moral orientation in childhood. (shrink)
This paper argues that an account of picturing in terms of the experience it sustains, in particular an experience of resemblance in outline shape, is superior to Dominic Lopes’, view, on which pictures engage our recognitional capacities for the objects they depict. Lopes’ position fails to do the work proper to a philosophical theory of picturing. Lopes argues that the experienced resemblance view pays insufficient attention to empirical work, and that it incurs unwelcome empirical commitments. I refuse the commitments Lopes (...) offers, and suggest that the view is more open to the empirical than he thinks. (shrink)
An increasing number of Italian scholars are beginning to share the idea that the conceptual basis of legal positivism (LP) is wrong, particularly in the field of Public Law. According to a group of theories called “neoconstitutionalism,” constitutionalism is to be understood not only as a principle based on the need to impose legal limits to political power, but also as an aggregation of values capable of continually remodelling legal relationships, positioning itself as a “pervasive” point of reference for legal (...) experience. A recent essay by Professor Antonio Baldassarre, President Emeritus of the Constitutional Italian Court, about the “misery of legal positivism” is a good expression of this view. In this article, the ideas outlined by Baldassarre are examined and criticized. The paper also tries to defend a version of legal positivism, which has both a conceptual and prescriptive meaning, relating to decisions made on the basis of rules. This view is based on the two correlated concepts of primary formalism and secondary formalism of “competence and procedure.”. (shrink)
Three experiments, adopting an evolutionary biology perspective, investigated subjects’ inferences about living things. Subjects were told that different enzymes help regulate cell function in two taxa and asked which enzyme a third taxon most likely uses. Experiment 1 and its follow-up, with college students, used triads involving amphibians, reptiles, and mammals (reptiles and mammals are most closely related evolutionarily) and plants, fungi, and animals (fungi are more closely related to animals than to plants). Experiment 2, with 10th graders, also included (...) triads involving mammals, birds, and snakes/crocodilians (birds and snakes/crocodilians are most closely related). Some subjects received cladograms (hierarchical diagrams) depicting the evolutionary relationships among the taxa. The effect of providing cladograms depended on students’ background in biology. The results illuminate students’ misconceptions concerning common taxa and constraints on their willingness to override faulty knowledge when given appropriate evolutionary evidence. Implications for introducing tree thinking into biology curricula are discussed. (shrink)
The year that Ludwig Wittgenstein was born in Vienna, 1889, nearby developments already underway portended two major changes of the coming century: the advent of controlled heavier-than-air flight and the mass production of musical sound recordings. Before they brought about major social changes, though, these innovations appeared in Europe in the form of children’s toys. Both a rubber-band-powered model helicopter-like toy employing an ingenious solution to the problem of control, and a working toy gramophone with which music could be reproduced (...) from hard discs, appeared in Europe in time for Ludwig’s childhood. And, both innovations reappear in his work as an adult. The relationship between the advent of heavier-than-air flight and Wittgenstein’s claim in Tractatus Logico-Philosophicus that a proposition is a picture or model is a topic in its own right, and I discuss it in separate works. 1 In this essay, I consider the way Wittgenstein employed the development of sound recordings in discussing logical form in the Tractatus. (shrink)
The conventionalist epistemology of cultural anthropology can be seen to be embedded in the methods of 'cognitive anthropology', the study of folk conceptual systems. These methods result in indiscriminately depicting all folk systems as conventional, whether or not the systems are intended by the native to represent objective features of the world. Hypothetical and actual ethnographic situations are discussed. It is concluded that the anthropologist's projection of his/her own epistemology onto a native system is ethnocentric. This epistemological prejudice may (...) be peculiar to the cognitive sciences. (shrink)
This written account of a clinical encounter - depicting fragments of a more extensive array of events - attempts to exemplify many facets and associated complexities of clinical ethics consultation. Within the general telling, I provide more detailed portrayals of several key events. In secion 1, I document briefly my initial interactions at the beginning of the consultation, focusing on the information gained - in the context of those interactions - as I read the medical chart of Mrs. Rose. (...) Next in section 2, I briefly describes my initial conversation with Mrs. Rose's three sons. Section 3 illustrates several questions raised in sections 1 and 2. Then section 4 presents my encounter with Paul, the youngest son, as he was carrying out his vigil at his mother's bedside in the hospital. Section 5 chronicles my interactions with several care providers involved in Mrs. Rose's situation, including two different meetings that occurred with Mrs. Rose's attending physician. I conclude in section 6 by telling about a conversation I had with Mrs. Rose's middle son, Russell, approximately one month after Mrs. Rose died. (shrink)
thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by (...) reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)
What is special about picturing according to the rules of perspectival drawing systems? My answer is at once both radical and conciliatory. I think that depiction essentially involves a distinctive experience, an experience of resemblance. More precisely, the picture must be seen as preserving what Thomas Reid (Enquiry 1764) called the "visible figure" of what is represented. It follows from this, and from some other plausible premises, that if a picture is to depict detailed spatial arrangements, rather than simply to (...) represent them in some other, non-pictorial, way, it must conform to perspectival rules. Hence the radicalism. Perspective does not provide uniquely accurate or realistic ways to depict things, but, for certain aspects of the world, the only way to depict them at all. What of the conciliatory aspect of my view? My account of depiction in no way implies that only perspectival pictures can depict anything at all. Indeed, it is quite consistent with a good deal of variation in the marks which might, in the right context, depict a given content. But better still, the factors determining what we see a picture as resembling, and hence partially determining what it depicts, are just those factors emphasized by those who take perspective to be a matter of convention. They include, for instance, the nature of the subject's perceptual environment, and the sorts of pictures to which he has previously been exposed. Thus, even given the radical claim, the variety in ways of depicting a given thing is neither incomprehensible nor indicative of some kind of failure. We can understand perspective's special status without denigrating the alternatives. (shrink)
