21 found
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  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 (...)
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  2.  24
    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 (...)
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  3. Pictorial Implicature.Catharine Abell - 2005 - Journal of Aesthetics and Art Criticism 63 (1):55–66.
  4. 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?
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  5.  41
    The Nonexistent.Catharine Abell - 2016 - British Journal of Aesthetics 56 (2):209-212.
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  6.  81
    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 (...)
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  7.  30
    Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
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  8.  47
    On Outlining the Shape of Depiction.Catharine Abell - 2005 - Ratio 18 (1):27–38.
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  9. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
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  10. 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 (...)
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  11.  11
    Against Depictive Conventionalism.Catharine Abell - 2005 - American Philosophical Quarterly 42 (3):185 - 197.
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  12.  59
    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 (...)
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  13.  18
    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. (...)
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  14. Of Photographs.Catharine Abell - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. pp. 81.
     
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  15. 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 (...)
     
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  16.  20
    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.
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    Realism and the Riddle of Style.Catharine Abell - 2006 - Contemporary Aesthetics 4:36.
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  18.  5
    Gregory Currie , Narratives and Narrators: A Philosophy of Stories . Reviewed By.Catharine Abell - 2011 - Philosophy in Review 31 (5):324-326.
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  19. Philosophical Perspectives on Picturing.Catharine Abell & Katerina Bantinaki (eds.) - 2010 - Oxford University Press.
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  20. Review of Zenon Pylyshyn's Seeing and Visualizing: It's Not What You Think. [REVIEW]Catharine Abell - 2005 - Psyche 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 (...)
     
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  21. The Expression of Emotion: Philosophical, Psychological, and Legal Perspectives.Catharine Abell & Joel Smith (eds.) - 2016 - Cambridge University Press.
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