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John Kulvicki [19]John V. Kulvicki [1]
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  1. John Kulvicki (2013). Images. Routledge.

    The nature of representation is a central topic in philosophy. This is the first book to connect problems with understanding representational artifacts, like pictures, diagrams, and inscriptions, to the philosophies of science, mind, and art.

    Can images be a source of knowledge? Are images merely conventional signs, like words? What is the relationship between the observer and the observed? In this clear and stimulating introduction to the problem John V. Kulvicki explores these questions and more. He discusses:

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    • the nature of pictorial experience and "seeing in"
    • recognition, resemblance, pretense, and structural theories of depiction
    • images as aids to scientific discovery and understanding
    • mental imagery and the nature of perceptual content
    • photographs as visual prostheses.

    In so doing he assesses central problems in the philosophy of images, such as how objects we make come to represent other things, and how we distinguish kinds of representation - pictures, diagrams, graphs - from one another. Essential reading for students and professional philosophers alike, the book also contains chapter summaries, annotated further reading, and a glossary.

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  2. John Kulvicki (2010). Introspective Availability. Philosophy and Phenomenological Research 80 (1):208-228.
  3. John Kulvicki (2010). Knowing with Images: Medium and Message. Philosophy of Science 77 (2):295-313.
    Problems concerning scientists’ uses of representations have received quite a bit of attention recently. The focus has been on how such representations get their contents and on just what those contents are. Less attention has been paid to what makes certain kinds of scientific representations different from one another and thus well suited to this or that epistemic end. This article considers the latter question with particular focus on the distinction between images and graphs on the one hand and descriptions (...)
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  4. John Kulvicki (2010). Pictorial Diversity. In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oup Oxford. 25.
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  5. Denis M. Walsh, Leah Henderson, Noah D. Goodman, Joshua B. Tenenbaum, James F. Woodward, Hannes Leitgeb, Richard Pettigrew, Brad Weslake & John Kulvicki (2010). 1. Not a Sure Thing: Fitness, Probability, and Causation Not a Sure Thing: Fitness, Probability, and Causation (Pp. 147-171). [REVIEW] Philosophy of Science 77 (2).
     
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  6. John Kulvicki (2009). Heavenly Sight and the Nature of Seeing-In. Journal of Aesthetics and Art Criticism 67 (4):387-397.
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  7. John Kulvicki (2008). Artifact Expression. In K. Stock & K. Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave.
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  8. John Kulvicki (2008). The Nature of Noise. Philosophers' Imprint 8 (11):1-16.
    There is a growing consensus in the philosophical literature that sounds differ rather profoundly from colors. Colors are qualities, while sounds are particulars of some sort or other, such as events or pressure waves. A key motivation for this is that sounds seem to be transient, to evolve over time, to begin and end, while colors seem like stable qualities of objects' surfaces. I argue that sounds are indeed, like colors, stable qualities of objects. Sounds are not transient, and they (...)
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  9. John Kulvicki (2007). Perceptual Content is Vertically Articulate. American Philosophical Quarterly 44 (4):357-369.
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  10. John Kulvicki (2007). Sight and Sensibility: Evaluating Pictures. Dialogue 46 (2):412-414.
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  11. John Kulvicki (2007). Sight and Sensibility: Evaluating Pictures Dominic McIver Lopes New York: Clarendon Press, 2005, X + 210 Pp., $27.50. [REVIEW] Dialogue 46 (02):412-.
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  12. John Kulvicki (2007). Sight and Sensibility. Dialogue 46 (2):412-414.
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  13. John Kulvicki (2007). What is What It's Like? Introducing Perceptual Modes of Presentation. Synthese 156 (2):205 - 229.
    The central claim of this paper is that what it is like to see green or any other perceptible property is just the perceptual mode of presentation of that property. Perceptual modes of presentation are important because they help resolve a tension in current work on consciousness. Philosophers are pulled by three mutually inconsistent theses: representational externalism, representationalism, and phenomenal internalism. I throw my hat in with defenders of the first two: the externalist representationalists. We are faced with the problem (...)
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  14. John Kulvicki (2006). Pictorial Representation. Philosophy Compass 1 (6):535–546.
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  15. John Kulvicki (2006). Pictorial Realism as Verity. Journal of Aesthetics and Art Criticism 64 (3):343–354.
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  16. John V. Kulvicki (2006). On Images: Their Structure and Content. Clarendon.
    What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.
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  17. John Kulvicki (2005). Perceptual Content, Information, and the Primary/Secondary Quality Distinction. Philosophical Studies 122 (2):103-131.
    Our perceptual systems make information about the world available to our cognitive faculties. We come to think about the colors and shapes of objects because we are built somehow to register the instantiation of these properties around us. Just how we register the presence of properties and come to think about them is one of the central problems with understanding perceptual cognition. Another problem in the philosophy of perception concerns the nature of the properties whose presence we register. Among the (...)
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  18. John Kulvicki (2004). Isomorphism in Information-Carrying Systems. Pacific Philosophical Quarterly 85 (4):380-395.
  19. John Kulvicki (2003). Hue Magnitudes and Revelation. Behavioral and Brain Sciences 26 (1):36-37.
    Revelation, the thesis that the full intrinsic nature of colors is revealed to us by color experiences, is false in Byrne & Hilbert's (B&H's) view, but in an interesting and nonobvious way. I show what would make Revelation true, given B&H's account of colors, and then show why that situation fails to obtain, and why that is interesting.
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  20. John Kulvicki (2003). Image Structure. Journal of Aesthetics and Art Criticism 61 (4):323–340.
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