23 found
Order:
See also
Catharine Abell
Oxford University
  1. Canny Resemblance.Catharine Abell - 2009 - Philosophical Review 118 (2):183-223.
    Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   33 citations  
  2. The Epistemic Value of Photographs.Catharine Abell - 2010 - In Catharine Abell & Katerina Bantinaki (eds.), Philosophical Perspectives on Depiction. Oxford University Press.
    There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...)
    Direct download  
     
    Export citation  
     
    Bookmark   6 citations  
  3. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  4. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
    Direct download (10 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  5. Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
    It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...)
    Direct download (8 more)  
     
    Export citation  
     
    Bookmark   10 citations  
  6. Cinema as a Representational Art.Catharine Abell - 2010 - British Journal of Aesthetics 50 (3):273-286.
    In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  7. Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
    An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...)
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   4 citations  
  8. Philosophical Perspectives on Depiction.Catharine Abell & Katerina Bantinaki (eds.) - 2010 - Oxford University Press.
    This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.
    Direct download  
     
    Export citation  
     
    Bookmark   4 citations  
  9.  98
    Pictorial Realism.Catharine Abell - 2007 - Australasian Journal of Philosophy 85 (1):1 – 17.
    I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark   7 citations  
  10.  72
    Against Depictive Conventionalism.Catharine Abell - 2005 - American Philosophical Quarterly 42 (3):185 - 197.
    In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  11. Review of Gregory Currie , Narratives and Narrators: A Philosophy of Stories. [REVIEW]Catharine Abell - 2011 - Philosophy in Review 31 (5):324-326.
  12. On Outlining the Shape of Depiction.Catharine Abell - 2005 - Ratio 18 (1):27–38.
    In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...)
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark   5 citations  
  13. Internal and External Pictures.Catharine Abell & Gregory Currie - 1999 - Philosophical Psychology 12 (4):429-445.
    What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way we try to account for (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   6 citations  
  14. Review of Anthony Everett, The Nonexistent. [REVIEW]Catharine Abell - 2016 - British Journal of Aesthetics 56 (2):209-212.
  15. Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4.
    My concern in this paper is what, in Art and Illusion, Gombrich calls "the riddle of style". This is the problem of why people at different times and in different cultures have depicted objects in very different ways. An adequate solution to this problem will comprise an explanation of why depiction has a history. The problem seems intractable because of three common assumptions about the history of depiction that, while independently plausible, are inconsistent. First, we assume that this history is (...)
     
    Export citation  
     
    Bookmark   3 citations  
  16.  34
    Go Social! Replies to Abell and Atencia-Linares.Catharine Abell, Paloma Atencia-Linares, Dominic McIver Lopes & Diarmuid Costello - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):207-234.
    Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in the (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  17.  38
    Printmaking as an Art.Catharine Abell - 2015 - Journal of Aesthetics and Art Criticism 73 (1):23-30.
    Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  18. Of Photographs.Catharine Abell - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. pp. 81.
     
    Export citation  
     
    Bookmark   2 citations  
  19.  54
    Review of Zenon Pylyshyn's Seeing and Visualizing: It's Not What You Think. [REVIEW]Catharine Abell - 2005 - PSYCHE: An Interdisciplinary Journal of Research On Consciousness 11.
    This book has three principle aims: to show that neither vision nor mental imagery involves the creation or inspection of picture-like mental representations; to defend the claim that our visual processes are, in significant part, cognitively impenetrable; and to develop a theory of “visual indexes”. In what follows, I assess Pylyshyn’s success in realising each of these aims in turn. I focus primarily on his arguments against “picture theories” of vision and mental imagery, to which approximately half the book is (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  20. Expression in the Representational Arts.Catharine Abell - 2013 - American Philosophical Quarterly 50 (1):23-36.
    Understanding a work of representational art involves more than simply grasping what it represents. We can distinguish at least three types of content that representational works may possess. First, all representational works have explicit representational content. This includes the literal content of a linguistic work and the depictive content of a pictorial work. Second, they often have a conveyed content, which outstrips their explicit representational content, including much that is merely implicit in the work, and may exclude certain aspects of (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  21.  42
    The Public Cost of Private Ownership of Artworks.Catharine Abell - 2005 - Philosophy in the Contemporary World 12 (2):76-81.
    I argue that artworks are of public value because aesthetic experience of them contributes to the development of our aestheticjudgement. I use two accounts of aesthetic judgement to explore how it might do so and how the private ownership of artworks could affect the development of our aesthetic judgement.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  22.  19
    Fiction: A Philosophical Analysis.Catharine Abell - 2020 - Oxford, UK: Oxford University Press.
    The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  23.  41
    The Expression of Emotion: Philosophical, Psychological, and Legal Perspectives.Catharine Abell & Joel Smith (eds.) - 2016 - Cambridge University Press.
    The Expression of Emotion collects cutting-edge essays on emotional expression written by leading philosophers, psychologists, and legal theorists. It highlights areas of interdisciplinary research interest, including facial expression, expressive action, and the role of both normativity and context in emotion perception. Whilst philosophical discussion of emotional expression has addressed the nature of expression and its relation to action theory, psychological work on the topic has focused on the specific mechanisms underpinning different facial expressions and their recognition. Further, work in both (...)
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark