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  1. Why the Pictorial Needs the Motoric.Gabriele Ferretti - forthcoming - Erkenntnis:1-35.
    Does action play any crucial role in our perception of pictures? The standard literature on picture perception has never explicitly tackled this question. This is for a simple reason. After all, objects in a picture seem to be static objects of perception. Thus, it might sound extremely controversial to say that action is crucial in picture perception. Contrary to this general intuitive stance, this paper defends, for the first time, the apparently very controversial claim, never addressed in the literature, that (...)
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  • Seeing Through Photographs: Photography as a Transparent Visual Medium.Vivian Mizrahi - 2021 - Journal of Aesthetics and Art Criticism 79 (1):52-63.
    The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...)
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  • Do Trompe l'Oeils Look Right When Viewed From the Wrong Place?Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (3):319-330.
    Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: Depicted objects are not perceived as present and We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate : the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate : they lead to appreciate spatial shifts resulting from (...)
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  • Perceptual Justification and the Cartesian Theater.David James Barnett - 2019 - Oxford Studies in Epistemology 6.
    According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, your immediate perceptual evidence is limited to facts about your own visual experience, from which conclusions about the external world must be inferred. Cartesianism faces well-known skeptical challenges. But this chapter argues that any anti-Cartesian view strong enough to avoid these challenges must license a way of updating one’s beliefs in response to anticipated experiences that seems diachronically irrational. To (...)
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  • Gombrich and the Duck-Rabbit.Robert Eamon Briscoe - 2018 - In Michael Beaney (ed.), Aspect Perception After Wittgenstein: Seeing-as and Novelty. Routledge. pp. 49-88.
  • Substitution by Image: The Very Idea.Jakub Stejskal - 2019 - Journal of Aesthetics and Art Criticism 77 (1):55-66.
    The aim of this article is to provide a plausible conceptual model of a specific use of images described as substitution in recent art-historical literature. I bring to light the largely implicit shared commitments of the art historians’ discussion of substitution, each working as they do in a different idiom, and I draw consequences from these commitments for the concept of substitution by image—the major being the distinction between nonportraying substitution and substitution by portrayal. I then develop an argument that (...)
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  • What is an Object File?E. J. Green & Jake Quilty-Dunn - forthcoming - British Journal for the Philosophy of Science:axx055.
    The notion of an object file figures prominently in recent work in philosophy and cognitive science. Object files play a role in theories of singular reference, object individuation, perceptual memory, and the development of cognitive capacities. However, the philosophical literature lacks a detailed, empirically informed theory of object files. In this paper, we articulate and defend the multiple-slots view, which specifies both the format and architecture of object files. We argue that object files represent in a non-iconic, propositional format that (...)
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  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...)
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  • Twofoldness and Three-Layeredness in Pictorial Representation.Alberto Voltolini - 2018 - Estetika 55 (1):89-111.
    In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...)
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  • Mirrors and Misleading Appearances.Vivian Mizrahi - 2019 - Australasian Journal of Philosophy 97 (2):354-367.
    ABSTRACTAlthough philosophers have often insisted that specular perception is illusory or erroneous in nature, few have stressed the reliability and indispensability of mirrors as optical instrumen...
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  • Pictures, Emotions, and the Dorsal/Ventral Account of Picture Perception.Gabriele Ferretti - 2017 - Review of Philosophy and Psychology 8 (3):595-616.
    Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer an account of picture (...)
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  • Twofold Pictorial Experience.René Jagnow - forthcoming - Erkenntnis:1-22.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  • Depicting Depictions.René Jagnow - 2017 - Pacific Philosophical Quarterly 98 (S1):453-479.
    How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the (...)
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  • The Neural Dynamics of Seeing-In.Gabriele Ferretti - 2019 - Erkenntnis 84 (6):1285-1324.
    Philosophers have suggested that, in order to understand the particular visual state we are in during picture perception, we should focus on experimental results from vision neuroscience—in particular, on the most rigorous account of the functioning of the visual system that we have from vision neuroscience, namely, the ‘Two Visual Systems Model’. According to the initial version of this model, our visual system can be dissociated, from an anatomo-functional point of view, into two streams: a ventral stream subserving visual recognition, (...)
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  • Threefoldness.Bence Nanay - 2018 - Philosophical Studies 175 (1):163-182.
    Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an (...)
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