This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

It has been argued by disability advocates that supported decision-making must replace surrogate, or substituted, decision-making for people with cognitive disabilities. From a moral perspective surrogate decision-making it is said to be an indefensible form of paternalism. At the heart of this argument against surrogate decision-making is the belief that such paternalistic action expresses something fundamentally disrespectful about those upon whom it is imposed: that they are inferior, deficient or child-like in some way. Contrary to this widespread belief, I will (...) argue that surrogate decision-making sometimes expresses more respect for people with life-long, ‘severe’ or ‘profound’ cognitive disabilities than does the adoption of supported decision-making.. Specifically, I argue that in some cases supported decision-making can arguably express that people with severe or profound cognitive disabilities lack equal moral value. I also argue that supported decision-making for people with profound cognitive disabilities can arguably express that they lack complex and rich inner lives. If our aim is to ensure our behaviour and practices express respect for people with life-long ‘severe’ or ‘profound’ cognitive disabilities, then sometimes surrogate rather than supportive decision-making will be a better option. (shrink)

‘Feminist logic’ may sound like an impossible, incoherent, or irrelevant project, but it is none of these. We begin by delineating three categories into which projects in feminist logic might fall: philosophical logic, philosophy of logic, and pedagogy. We then defuse two distinct objections to the very idea of feminist logic: the irrelevance argument and the independence argument. Having done so, we turn to a particular kind of project in feminist philosophy of logic: Valerie Plumwood's feminist argument for a relevance (...) logic. Plumwood's work serves as our primary case study as we turn to the project of considering three different ways we might understand her argument and revisionist arguments like it: as a priori theorizing, as ameliorative conceptual engineering, or as instances of anti-exceptionalist approaches to logic. After arguing that the anti-exceptionalist approach seems to provide the most promising means of understanding the kind of project undertaken in a feminist challenge to classical logic, we briefly address the consequences that this might have for logic instruction. Here, we argue for the perhaps unexpected conclusion that feminist programs ought to offer more, not less, instruction in logic for those who take interest. (shrink)

The phenomenological perspective described by M. Merleau-Ponty seems to be emerging in the context of contemporary developmental research, theories of communication, metaphor theory, and cognitive neuroscience. This emergence is not always accompanied by reference to Merleau-Ponty, however, or appropriate interpretation. On some cases, the emergence of the perspective seems rather inadvertent. The purpose of this essay is to ferret out some of the points which contemporary thinking has in common with Merleau-Ponty's phenomenology. Though it may appear that the examples chosen (...) for this essay might be scrutinized separately, the thread that ties them together is Merleau-Ponty's work. 2012 APA, all rights reserved). (shrink)

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, (...) or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

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 (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

In Life's Dominion Ronald Dworkin argues that disagreement over the morality ofabortion is about how best to respect the intrinsic value of human life, rather than about foetal rights as many people mistakenly suppose. Dworkin argues that the state should be neutral indebates about intrinsic value and thus it should be neutral in the abortion debate. Through a consideration of the notion of intrinsic value, it is argued in this article that Dworkin'sargument fails. On the interpretation of which Dworkin seems (...) to favour, it is shown to be implausible that such a notion accounts for different views about the value of human life. On an alternative interpretation of it is argued that the state is not usually neutral on such matters, and thus there is no reason why it should be in the case of abortion. (shrink)

According to ontological nihilism there are, fundamentally, no individuals. Both natural languages and standard predicate logic, however, appear to be committed to a picture of the world as containing individual objects. This leads to what I call the \emph{expressibility challenge} for ontological nihilism: what language can the ontological nihilist use to express her account of how matters fundamentally stand? One promising suggestion is for the nihilist to use a form of \emph{predicate functorese}, a language developed by Quine. This proposal faces (...) a difficult objection, according to which any theory in predicate functorese will be a notational variant of the corresponding theory stated in standard predicate logic. Jason Turner (2011) has provided the most detailed and convincing version of this objection. In the present paper, I argue that Turner's case for the notational variance thesis relies on a faulty metasemantic principle and, consequently, that an objection long thought devastating is in fact misguided. (shrink)

According to anti-individualism, the basic building blocks of the world are not individuals. The anti-individualist argues that standard, individual-entailing claims–for instance, that Theia is a cat–are mistaken in presupposing that there are individuals, but that such claims correspond to statements in a feature-placing language devoid of these presuppositions. Instead, the world is entirely made up of non-individualistic features–structurally akin to familiar examples such as it's raining or it's snowing–that are arranged in particular ways. Since features do not carve out individual (...) differences, however, this seems to entail that there is a class of statements in an individualistic language–statements expressing mere differences in which object is which–the members of which all correspond to the same anti-individualist description. That is, anti-individualism seems to entail anti-haecceitism, according to which all differences in ways the world could be supervene on qualitative differences. In this paper, I argue that, on the contrary, the anti-individualist has the resources to accommodate non-qualitative differences among ways the world could be. Moreover, haecceitistic anti-individualism does justice to the motivations for rejecting individuals while nevertheless accommodating intuitions that certain kinds of scenarios are metaphysically distinct. (shrink)

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 (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

Root, branch, and blossom, attention is intertwined with epistemology. It is essential to our capacity to learn and decisive of the evidence we obtain, it influences the intellectual connections we forge and those we remember, and it is the cognitive tool whereby we enact decisions about inquiry. Moreover, because it is both an epistemic practice and a site of agency, attention is a natural locus for questions about epistemic morality. This article surveys the emerging epistemology of attention, reviewing the existing (...) literature and sketching avenues for future investigation. It also argues for a reorientation of epistemology itself. This argument is the focus of Section 1. Section 2 briefly reviews philosophical accounts of attention, Section 3 focuses on issues in traditional, individualistic epistemology, and Section 4 turns to social epistemology. (shrink)

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 (...) to serve. (shrink)

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 (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

Digital phenotyping will potentially enable earlier detection and prediction of mental illness by monitoring human interaction with and through digital devices. Notwithstanding its promises, it is certain that a person’s digital phenotype will at times be at odds with their first-person testimony of their psychological states. In this paper, we argue that there are features of digital phenotyping in the context of psychiatry which have the potential to exacerbate the tendency to dismiss patients’ testimony and treatment preferences, which can be (...) instances of epistemic injustice. We first explain what epistemic injustice is, and why it is argued to be an extensive problem in health and disability settings. We then explain why epistemic injustice is more likely to apply with even greater force in psychiatric contexts, and especially where digital phenotyping may be involved. Finally, we offer some tentative suggestions of how epistemic injustice can be minimised in digital psychiatry. (shrink)

The red tape and delays around research ethics and governance approvals frequently frustrate researchers yet, as the lesser of two evils, are largely accepted as unavoidable. Here we quantify aspects of the research ethics and governance approvals for one interview- and questionnaire-based study conducted in England which used the National Health Service procedures and the electronic Integrated Research Application System. We demonstrate the enormous impact of existing approvals processes on costs of studies, including opportunity costs to focus on the substantive (...) research, and suggest directions for radical system change. We have recorded 491 exchanges with 89 individuals involved in research ethics and governance approvals, generating 193 pages of email text excluding attachments. These are conservative estimates. The exchanges were conducted outside IRAS, expected to be the platform where all necessary documents are provided and questions addressed. Importantly, the figures exclude the actual work of preparing the ethics documentation. We propose six areas of work to enable system change: 1. Support the development of a broad range of customised research ethics and governance templates to complement generic, typically clinical trials orientated, ones; 2. Develop more sophisticated and flexible frameworks for study classification; 3. Link with associated processes for assessment, feedback, monitoring and reporting, such as ones involving funders and patient and public involvement groups; 4. Invest in a new generation IT infrastructure; 5. Enhance system capacity through increasing online reviewer participation and training; and 6. Encourage researchers to quantify the approvals processes for their studies. Ethics and governance approvals are burdensome for historical reasons and not because of the nature of the task. There are many opportunities to improve their efficiency and analytic depth in an age of innovation, increased connectivity and distributed working. If we continue to work under current systems, we are perpetuating, paradoxically, an unethical system of research approvals by virtue of its wastefulness and impoverished ethical debate. (shrink)

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 (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

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?

This article develops a detailed, empirically driven analysis of the nature of the transition costs incurred in becoming disabled. Our analysis of the complex nature of these costs supports the claim that it can be wrong to cause disability, even if disability is just one way of being different. We also argue that close attention to the nature of transition costs gives us reason to doubt that well-being, including transitory impacts on well-being, is the only thing that should determine the (...) wrongness of causing or removing disability. Non-welfare considerations also defeat the claim that it is always wrong to cause disability. The upshot of these conclusions is that closer attention to the nature of transition costs supports disabled people who strenuously contest the assumption that their well-being is lower than nondisabled people. It also suggests that, in addition, disabled people should contest their opponents’ narrow account of how we should make ethical decisions regarding causing or failing to prevent disability. (shrink)

This paper examines the logical and metaphysical consequences of denying Leibniz's Law, the principle that if t1= t2, then φ(t1) if and only if φ(t2). Recently, Caie, Goodman, and Lederman (2020) and Bacon and Russell (2019) have proposed sophisticated logical systems permitting violations of Leibniz's Law. We show that their systems conflict with widely held, attractive principles concerning the metaphysics of individuals. Only by adopting a highly revisionary picture, on which there is no finest-grained equivalence relation, can a well-motivated metaphysics (...) for rejecting Leibniz's Law be developed. We sketch one such picture—a metaphysics of stuff. Stuff ontologies can be initially motivated through ordinary language: stuff stands to mass nouns as objects stand to count nouns. The stuff ontology we propose takes stuff to be fundamental and views the world as composed of an infinite descending hierarchy of kinds and portions of stuff. We defend the coherence of this picture and offer a model theory demonstrating that it can be consistently formalized. (shrink)

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 (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Deep brain stimulation is an experimental procedure for treatment-resistant depression. Some results show promise, but blinded trials had limited success. Ethical questions center on vulnerability: especially on whether depressed patients can weigh the risks and benefits effectively, whether depression causes “desperation,” and whether media portrayals create unrealistic hopes. We interviewed 24 psychiatric inpatients with treatment-resistant depression, qualitatively analyzing their comments. Most had minimal interest in deep brain stimulators. Some might consider them if their depression worsened, if alternatives were exhausted, or (...) if the evidence were stronger. Fears focused on the surgery, adverse effects, and the novelty of the device. Patients felt the depression interfered with their ability to weigh the risks and benefits. Patients seemed highly attuned to the risks, and were skeptical that the treatment would be effective. We conclude that ethical concerns about vulnerability remain, yet patients with treatment-resistant depression were thoughtful and cautious about trying a novel therapy. (shrink)

Like every great word, “representation/s “ is a stew. A scrambled menu, it serves up several meanings at once. For a representation can be an image—visual, verbal, or aural. Think of a picture of a hat. A representation can also be a narrative, a sequence of images and ideas. Think of the sentence, “Nancy Reagan wore a hat when she visited a detoxification clinic in Florida.” Or, a representation can be the product of ideology, that vast scheme for showing forth (...) the world and justifying its dealings. Think of the sentence, “Nancy Reagan, in her hat, is a proper woman.” In the past twenty years, feminist thinking about representation has broken apart. This fracture is both cause and symptom of the larger collapse of a feminist cultural consensus. Some of the rifts have been thematic. That is to be represented? Others have been theoretical. What is the nature of representation itself? I wish to map these rifts, especially those in the United States, and to wonder about the logic of a new cultural consensus.In the late 1960s, feminists began to share a cultural consensus about the representation of women and gender. Few who built up that consensus were village idiots. Even without being semioticians, everyone more or less knew that the marriages between the signifier and the signified in that odd couple, the sign, were ones of convenience. Everyone more or less knew that the marriages between the sign and the referent, that hubbub out there, or somewhere, were also ones of convenience. Some survived. Others were obsolete, cold, hostile, ending in separation or divorce. Everyone more or less knew that when I exclaimed, “Nancy Reagan wears a hat,” it was easier for a fellow citizen of my linguistic community to understand me than for a stranger to do so. Nevertheless, the consensus offered a rough, general theory of representation that extolled the possibility of a fit between “reality” and its “description” or “image.” Catharine R. Stimpson is professor of English and dean of the Graduate School at Rutgers University. She is presently at work on a book about Gertrude Stein. (shrink)

However, Stein's self-images are more than appropriations of a male identity and masculine interests. Several of them are irrelevant to categories of sex and gender. In part, Stein is an obsessive psychologist, a Euclid of behavior, searching for "bottom natures," the substratum of individuality. She also tries to diagram psychic genotypes, patterns into which all individuals might fit. Although she plays with femaleness/maleness as categories, she also investigates an opposition of impetuousness and passivity, fire and phlegm; a variety of regional (...) and national types; and the dualism of the "dependent independent," who tends to resist. In part, as she puzzles her way towards knowing and understanding, she presents herself as engaged in aural and oral acts, listening and hearing before speaking and telling. That sense of perception as physical also emerges in a passage in which she, as perceiver/describer, first incorporates and then linguistically discharges the world: "Mostly always when I am filled up with it I tell it, sometimes I have to tell it, sometimes I like to tell it, sometimes I keep on with telling it."1 · 1. The Making of Americans: Being a History of a Family's Progress , p. 325. Catharine R. Stimpson, associate professor of English at Barnard College, is the editor of Signs: Journal of Women in Culture and Society and the author of J.R.R. Tolkien as well as other essays and fiction. See also: "Visual Rhetoric in The Autobiography of Alice B. Toklas" by Paul K. Alkon in Vol. 1, No. 4; "Gertrude Stein, the Cone Sisters, and the Puzzle of Female Friendship" by Carolyn Burke in Vol. 8, No. 3. (shrink)

This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.

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 (...) see them. This account meets the criteria I have identified and is superior to alternative accounts of realism. (shrink)

The "Kinsey Report" suggests the existence of such a mentality. Of 142 women with much homosexual experience, 70 percent reported no regrets. This consciousness has manifested itself in literature in two ways. First, in lesbian romanticism: fusions of life and death, happiness and woe, natural imagery and supernatural strivings, neoclassical paganism with a ritualistic cult of Sappho, and modern beliefs in evolutionary progress with a cult of the rebel. At its worst an inadvertent parody of fin de siecle decadence, at (...) its best lesbian romanticism ruthlessly rejects a stifling dominant culture and asserts the value of psychological autonomy, women, art, and a European civilization of the sensuous, sensual, and voluptuous. Woolf's Orlando is its most elegant and inventive text, but its symbol is probably the career of Natalie Barney, the cosmopolitan American who was the prototype of Valerie Seymour.23· 23. See Rubin, introduction to Vivien's A Woman Appeared to Me, and George Wickes, The Amazon of Letters: The Life and Loves of Natalie Barney .Catherine R. Stimpson, professor of English at Rutgers University, is the former editor of Signs: Journal of Women in Culture and Society. The author of both critical essays and fiction, she recently co-edited, with Ethel Spector Person, Women, Sex and Sexuality. (shrink)

This study examines the history of the psychoanalytic theory of mysticism, starting with the seminal correspondence between Freud and Romain Rolland concerning the concept of "oceanic feeling." Providing a corrective to current views which frame psychoanalysis as pathologizing mysticism, Parsons reveals the existence of three models entertained by Freud and Rolland: the classical reductive, ego-adaptive, and transformational (which allows for a transcendent dimension to mysticism). Then, reconstructing Rolland's personal mysticism (the "oceanic feeling") through texts and letters unavailable to Freud, Parsons (...) argues that Freud misinterpreted the oceanic feeling. In offering a fresh interpretation of Rolland's mysticism, Parsons constructs a new dialogical approach for psychoanalytic theory of mysticism which integrates culture studies, developmental perspectives, and the deep epistemological and transcendent claims of the mystics. (shrink)

Critical realism, a philosophical framework originally developed by Roy Bhaskar in the 1970s, represents a relatively new approach to research generally and to nursing research in particular. This article explores the ontological and epistemological tenets of critical realism and examines the application of critical realist principles to nursing research and practice through a review of the literature. It is evident that few published nursing research studies have, as of yet, utilized critical realism as their paradigm of choice. Both the strengths (...) and limitations of the presentation and use of critical realism in these studies are discussed in this article. Given the varying degrees of success of the authors in explicating critical realism as a philosophical framework, the value of critical realism to the research study, and the ways in which usage of the critical realist framework influenced development of the study and interpretation of findings, it is evident that the quality of future publications espousing the use of critical realism must continue to be strengthened significantly. (shrink)

Transcriptional repression and silencing have been strongly associated with hypoacetylation of histones. Accordingly, histone deacetylases, which remove acetyl groups from histones, have been shown to participate in mechanisms of transcriptional repression. Therefore, current models of the role of acetylation in transcriptional regulation focus on the acetylation status of histones and designate histone acetyltransferases, which add acetyl groups to histones, as transcriptional coactivators and histone deacetylases as corepressors. In recent years, an accumulation of studies have shown that these enzymes also target (...) non‐histone proteins and that histone deacetylases have clear roles as coactivators at a variety of genes, some of which are key regulators of cell growth and survival. This review summarizes the evidence for histone deacetylases as coactivators and provides models of coactivation mechanisms, some of which integrate roles of acetylated histones and non‐histone proteins in transcription. BioEssays 30:15–24, 2008. © 2007 Wiley Periodicals, Inc. (shrink)

The idea that our epistemic practices can be wrongful has been the core observation driving the growing literature on epistemic injustice, doxastic wronging, and moral encroachment. But, one element of our epistemic practice has been starkly absent from this discussion of epistemic morality: attention. The goal of this article is to show that attention is a worthwhile focus for epistemology, especially for the field of epistemic morality. After presenting a new dilemma for proponents of doxastic wronging, I show how focusing (...) on attention not only allows us to defuse that dilemma, but also helps to substantiate accounts of what goes wrong in cases of doxastic wronging. (shrink)

The vertebrate retina is said to be inverted because the photoreceptors are oriented in the posterior direction and are thus unable to maximize photodetection under conditions of low illumination. The tapetum lucidum is a photoreflective structure located posterior to the photoreceptors in the eyes of some fish and terrestrial animals. The tapetum reflects light forward, giving incident photons a “second chance” to collide with a photoreceptor, substantially enhancing retinal photosensitivity in dim light. Across vertebrates (and arthropods), there are a wide (...) variety of tapeta that vary in structure, chemical composition, and even tissue architecture, indicating repeated convergent evolution. To date, the tapetum has not been observed in any cephalopod, however, which also possess a camera‐like eye, but with the retinal photoreceptors oriented in the anterior direction. We therefore hypothesize that the tapetum lucidum is a compensatory adaptation for the suboptimal design of the inverted retina of vertebrates. (shrink)

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 (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

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 (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)