Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

In contrast to Constructivist Views, which construe perceptual cognition as an essentially reconstructive process, this article recommends the Deictic View, which grounds perception in perceptual-demonstrative reference and the use of deictic tracking strategies for acquiring and updating knowledge about individuals. The view raises the problem of how sensory-motor tracking connects to epistemic and integrated forms of tracking. To study the strategies used to solve this problem, we report a study of the ability to track distal individuals when only their directions (...) can be perceived and not their locations. We introduce a new experimental paradigm named the 'Modified Traveling Salesman Problem' (MTSP), which requires subjects to visit n invisible targets in a 2D display once each. Surprisingly, subjects are competent at this task for up to 10 targets. We consider two types of tracking strategies that subjects might use: 'location-based' strategies and 'deictic direction-based' strategies. A number of observations suggest that subjects used the latter, at least for larger numbers of targets. We hypothesize that subjects used perceptual-demonstrative reference and deictic strategies (i) to perform the sensory-motor tracking of directional segments, (ii) to bind the segments with their updated status in the task, and (iii) to perform the epistemic tracking of invisible targets by means of perception-based inferences. (shrink)

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...) why many experimental studies do not belong to a psycho-historical science of art. (shrink)