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Helen Yetter-Chappell (forthcoming). Seeing Through Eyes, Mirrors, Shadows and Pictures.

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  1. The Extended Mind.Andy Clark & David J. Chalmers - 1998 - Analysis 58 (1):7-19.
    Where does the mind stop and the rest of the world begin? The question invites two standard replies. Some accept the demarcations of skin and skull, and say that what is outside the body is outside the mind. Others are impressed by arguments suggesting that the meaning of our words "just ain't in the head", and hold that this externalism about meaning carries over into an externalism about mind. We propose to pursue a third position. We advocate a very different (...)
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  2. On the Epistemic Value of Photographs.Jonathan Cohen & Aaron Meskin - 2004 - Journal of Aesthetics and Art Criticism 62 (2):197–210.
    Many have held that photographs give us a firmer epistemic connection to the world than do other depictive representations. To take just one example, Bazin famously claimed that “The objective nature of photography confers on it a quality of credibility absent from all other picture-making” ([Bazin, 1967], 14). Unfortunately, while the intuition in question is widely shared, it has remained poorly understood. In this paper we propose to explain the special epistemic status of photographs. We take as our starting place (...)
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    Image and Mind: Film, Philosophy, and Cognitive Science.Berys Gaut & Gregory Currie - 1998 - Philosophical Review 107 (1):138.
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    Skepticism and the Veil of Perception.Michael Huemer - 2002 - Mind 111 (444):866-869.
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    Understanding Pictures.Dominic Lopes - 1999 - Journal of Aesthetics and Art Criticism 57 (3):385-388.
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    Transparency and Sensorimotor Contingencies: Do We See Through Photographs?Bence Nanay - 2010 - Pacific Philosophical Quarterly 91 (4):463-480.
    It has been claimed that photographs are transparent: we see through them; we literally see the photographed object through the photograph. Whether this claim is true depends on the way we conceive of seeing. There has been a controversy about whether localizing the perceived object in one's egocentric space is a necessary feature of seeing, as if it is, then photographs are unlikely to be transparent. I would like to propose and defend another, much weaker, necessary condition for seeing: I (...)
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    Causation and Perception: The Puzzle Unravelled.Alva NoË - 2003 - Analysis 63 (2):93-100.
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  8. Causation and Perception: The Puzzle Unravelled.A. Noe - 2003 - Analysis 63 (2):93-100.
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  9. Mind and World.Huw Price & John McDowell - 1994 - Philosophical Books 38 (3):169-181.
    How do rational minds make contact with the world? The empiricist tradition sees a gap between mind and world, and takes sensory experience, fallible as it is, to provide our only bridge across that gap. In its crudest form, for example, the traditional idea is that our minds consult an inner realm of sensory experience, which provides us with evidence about the nature of external reality. Notoriously, however, it turns out to be far from clear that there is any viable (...)
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  10. Action and Self-Location in Perception.Susanna Schellenberg - 2007 - Mind 115 (463):603-632.
    I offer an explanation of how subjects are able to perceive the intrinsic spatial properties of objects, given that subjects always perceive from a particular location. The argument proceeds in two steps. First, I argue that a conception of space is necessary to perceive the intrinsic spatial properties of objects. This conception of space is spelled out by showing that perceiving intrinsic properties requires perceiving objects as the kind of things that are perceivable from other locations. Second, I show that (...)
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  11. Transparent Pictures: On the Nature of Photographic Realism.Kendall L. Walton - 1984 - Noûs 18 (1):67-72.
    That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...)
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