Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how (...) more precisely does it operate? I show how to use the notion of experienced resemblance in outline shape to analyse depiction in such a way as to answer this question, and to explain the six key features above. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. (...) From this discussion, two points will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

A distorted representation of one's own body is a diagnostic criterion and core psychopathology of both anorexia nervosa (AN) and bulimia nervosa (BN). Despite recent technical advances in research, it is still unknown whether this body image disturbance is characterized by body dissatisfaction and a low ideal weight and/or includes a distorted perception or processing of body size. In this article, we provide an update and meta-analysis of 42 articles summarizing measures and results for body size estimation (BSE) from 926 (...) individuals with AN, 536 individuals with BN and 1920 controls. We replicate findings that individuals with AN and BN overestimate their body size as compared to controls (ES= 0.63). Our meta-regression shows that metric methods (BSE by direct or indirect spatial measures) yield larger effect sizes than depictive methods (BSE by evaluating distorted pictures), and that effect sizes are larger for patients with BN than for patients with AN. To interpret these results, we suggest a revised theoretical framework for BSE that accounts for differences between depictive and metric BSE methods regarding the underlying body representations (conceptual vs. perceptual, implicit vs. explicit). We also discuss clinical implications and argue for the importance of multimethod approaches to investigate body image disturbance. (shrink)

By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.

What is depiction? This is a venerable question that has received many different answers throughout the whole history of philosophy, especially in contemporary times. A Syncretistic Theory of Depiction elaborates a new account on this matter by providing a theory of depiction that tries to combine the merits of the previous theories while dropping their defects. It is argued that a picture is a representation in a pictorial or figurative mode, and its 'figurativity' is given by a (...) special perception, perceiving-in, whose nature is reconceived. Such a perception inter alia grasps some properties which the picture's vehicle has in common with what is perceived in it; by so doing, that perception provides the picture with a figurative content. In contrast, the picture's representational value, its subject or its pictorial content, is given by a conventionally or causally based selection out of that figurative content. (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)

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in (...) the picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures. (shrink)

Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. (...) From this discussion, two points will emerge: first, we will see that it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanical way (as opposed to, say, paintings), and second, we will see that the notion of "imagining-seeing", as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. Focusing mainly on photographs, I then illustrate the view I want to advocate by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

This paper is part of a longer project on the semantics of depiction verbs and their associated relational nouns. Depiction verbs include verbs for physical acts, such as ‘draw’ (with relational noun ‘drawing’), ‘sketch’, ‘caricature’, ‘sculpt’, ‘write (about)’, and verbs for mental ones, such as ‘visualize’, ‘imagine’, and ‘fantasize’.

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that (...) his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

Tye argues that visual mental images have their contents encoded in topographically organized regions of the visual cortex, which support depictive representations; therefore, visual mental images rely at least in part on depictive representations. This argument, I contend, does not support its conclusion. I propose that we divide the problem about the depictive nature of mental imagery into two parts: one concerns the format of image representation and the other the conditions by virtue of which a representation becomes a depictive (...) representation. Regarding the first part of the question, I argue that there exists a topographic format in the brain but that does not imply that there exists a depictive format of image representation. My answer to the second part of the question is that one needs a content analysis of a certain sort of topographic representations i n order to make sense of depictive mental representations, and a topographic representation becomes a depictive representation by virtue of its content rather than its form. (shrink)

Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...) argue, reveals a much cited disanalogy between depiction and description is illusory: the structure of pictures, like language, is compositional. (shrink)

In scholarly writing on metaphor, there is a great gap between literary theory and critical practice. Phillip Stambovsky here attempts to close that gap by presenting a theory of literary metaphor that is grounded in actual literary experience. Stambovsky begins by critically reviewing the most well-known and influential theories of metaphor, including those based on notions of comparison, substitution, transfer, analogy, semantic interaction, and context. He then introduces a phenomenology of literary experience, drawning from the writings of Whitehead, Cassirer, Merleau-Ponty, (...) Sartre, and Frye, among others. With this as his theoretical foundation, Stambovsky stresses the primacy of presentational awareness in literary experience, arguing for the reader's collaborative involvement in the creation of textual meaning. In the third chapter, Stambovsky examines how literary imagery functions in narrative discourse, showing how Henry James's imagery in The Golden Bowl depictively renders the relationships of characters, their thoughts, and their feelings so that the reader perceives them with the immediacy and aesthetic impact of perceptual, as opposed to conceptual, experience. Turning to the very concept of depictive imagery, Stambovsky next discusses experiential approaches to metaphor, particularly those of Marcus Hester and George Yoos. He concludes his study with an explication of a metaphor centered in the closing line of Dickinson's poem, "A Bird Came Down the Walk.". (shrink)

It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.

Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third (...) relatum of the relation of depiction is largely analyzed in terms of the role imagination plays in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs – as well as Walton's own strategy to face this objection, and I argue that it is partly adequate and partly wrong. As we will see, first, it is an unnecessary mistake to insist too heavily on the fact that photographs are produced in a mechanic way (as opposed to, say, paintings), and second, the notion of "imagining-seeing," as it is articulated by Walton, is perhaps too strong and does not entirely do justice to the external character of the role imagination plays here. I illustrate the view I want to advocate for by a series of different cases, where the nature of the role that imagination, knowledge/belief, and inference play in depiction will become apparent. (shrink)

This paper shows that direct-object perceptual verbs, such as "hear", "smell", "taste", "feel", and "see", share a collection of distinctive semantic behaviors with depictive verbs, among which are "draw'', "paint", "sketch", and "sculpt". What explains these behaviors in the case of depictives is that they are causative verbs, and have lexical decompositions that involve the creation of concrete artistic artifacts, such as pictures, paintings, and sculptures. For instance, "draw a dog" means "draw a picture of a dog", where the latter (...) occurrence of "draw" denotes a creative activity. While perceptual verbs are not obviously causatives, they have analogous decompositions involving noun phrases that denote modality-specific sense-objects, such as a sounds, smells, flavors, touches, and sights. Thus, "hear a trumpet" means "hear the sound of a trumpet", and the same holds, mutatis mutandis, for verbs denoting the other sensory modes. If we take this analogy at face value, our perceptual reports will commit us to a form of the sense-datum theory of perception. While the analogy can be resisted, resistance requires taking on unexpected commitments. (shrink)

ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the (...) puzzle. While many take it that depicting movement is to make visible something that has duration, I suggest that it is to make visible something atemporal. (shrink)

§1 Analytic philosophers interested in depiction have focused for the most part on two problems: first, explaining how pictures represent; second, describing the distinctive kinds of artistic value pictures can possess, or the distinctive ways in which they can embody artistic values that extend more broadly across the arts. I shall discuss the first problem here. The main concepts I shall be concerned with are depiction, resemblance, sense and reference.

The standing screens on the title is the oldest work extant of KANO Motonobu's work as folding screens of thick colored flowers and birds with golden background. This thesis designates that the scenery and the motif of the work are in correspondence with both descriptions of the scenery of Pure Land in several Buddhist scriptures and the design of actual gardens. Firstly, a peacock on the right hand screen is focused to indicate the bird connotes the elements of auspicious birds (...) in Buddhism, such as Mahamayuri and Kalavinka.Secondly, the elements of the scenery in the work, such as the four seasons at the same time ∼ the depiction of perpetuity ∼ and the existence of a pond, are identified with the description of Pure Land in Kwan-mu-liang-shou-ching and Ta-wuliang-shou-ching. These elements of the garden in the work are placed similarly to the Pure Land style gardens, which are illustrated in "Center and Surrounds of Kyoto" 's. In consideration of the above factors, the conclusion that, in the work, KANO Motonobu succeeded to portray the ideal garden by combining the scenery of Pure Land and that of actual gardens, is drawn. (shrink)

A theology aims to explain the nature of God. A metatheology investigates more fundamental issues concerning how to structure such an intellectual endeavor. This book examines where it is best to start the project of theology in the hope of offering a defensible metatheory from which a complete and elegant theology can be developed.

This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, (...) but also to foundational questions about what makes it the case that depictions have the syntactic and semantic properties they do. (shrink)

In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...) to the problem of depicting impossible fictions. It is suggested that progress can be made by understanding the role of impossible fictions in science, namely, allowing researchers to probe into the possible structure and representational capacities of scientific theory. (shrink)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim’s term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look.’ In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it (...) in pictures, if we do? In this chapter, I offer an account of pictorial perception of empty space by elaborating on Wollheim’s claim that ‘seeing-in’ is permeable to thought. I end by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures. (shrink)

Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can (...) perceive properties of properties. (shrink)

Machine generated contents note: -- List of figures -- Acknowledgements -- Introduction -- Convention -- Seeing and the Experience of Pictures -- A Theory of Depiction -- Resemblance -- Transparency and Resemblance -- Realism -- Varieties of Realism -- Abstraction -- Notes -- Index.

Advanced practice nursing is an expanding field within many healthcare environments around the world. The scope and particular focus of an advanced practice nurse’s role is highly variable and thus the ethical challenges they face are equally diverse. Yet, the dominant existing ethics pedagogies used in the nursing context have been described as not fit-for-purpose. Existing pedagogies do not adequately prepare APN candidates to meet the ethical challenges they will encounter in practice. Applying an arts-based pedagogy in ethics education for (...) advanced practice nurses has the capacity to provide effective ethics learning. This article reports on the value of a multidisciplinary pedagogy used in a graduate course in nursing leadership, law and ethics for advanced practice at an Australian university. Written in a multidisciplinary mode that allies with the pedagogy it presents, it addresses the key pedagogical challenges and opportunities of teaching ethics through an innovative arts-based pedagogy centred upon the changing depictions of the human person in works of art housed in a major state-funded art gallery. (shrink)

Advanced practice nursing is an expanding field within many healthcare environments around the world. The scope and particular focus of an advanced practice nurse’s role is highly variable and thus the ethical challenges they face are equally diverse. Yet, the dominant existing ethics pedagogies used in the nursing context have been described as not fit-for-purpose. Existing pedagogies do not adequately prepare APN candidates to meet the ethical challenges they will encounter in practice. Applying an arts-based pedagogy in ethics education for (...) advanced practice nurses has the capacity to provide effective ethics learning. This article reports on the value of a multidisciplinary pedagogy used in a graduate course in nursing leadership, law and ethics for advanced practice at an Australian university. Written in a multidisciplinary mode that allies with the pedagogy it presents, it addresses the key pedagogical challenges and opportunities of teaching ethics through an innovative arts-based pedagogy centred upon the changing depictions of the human person in works of art housed in a major state-funded art gallery. (shrink)

Nelson Goodman has provided one of the most exciting advances in semiotic aesthetics in years in his recent book, Languages of Art. Among other theses that Goodman defends is the claim that pictures are elements of symbol systems to be understood in the way that languages are understood: that depiction and description are species of a common genus which is to be understood in terms of denotation. One of the consequences Goodman draws from his theory is that depiction (...) is conventional: the fact that a certain picture depicts a man is as much a matter of convention as the fact that a certain phrase describes him. This claim is interesting and exciting, but is it correct? Unfortunately, I do not think we are yet in a position to answer this last question, although I shall try to get nearer to an answer in this paper. (shrink)

This chapter defends intentionalism about pictorial representation.

Advanced practice nursing is an expanding field within many healthcare environments around the world. The scope and particular focus of an advanced practice nurse’s role is highly variable and thus the ethical challenges they face are equally diverse. Yet, the dominant existing ethics pedagogies used in the nursing context have been described as not fit-for-purpose. Existing pedagogies do not adequately prepare APN candidates to meet the ethical challenges they will encounter in practice. Applying an arts-based pedagogy in ethics education for (...) advanced practice nurses has the capacity to provide effective ethics learning. This article reports on the value of a multidisciplinary pedagogy used in a graduate course in nursing leadership, law and ethics for advanced practice at an Australian university. Written in a multidisciplinary mode that allies with the pedagogy it presents, it addresses the key pedagogical challenges and opportunities of teaching ethics through an innovative arts-based pedagogy centred upon the changing depictions of the human person in works of art housed in a major state-funded art gallery. (shrink)

According to Hector-Neri Castañeda, indexical reference is our most basic means of identifying the objects and events we experience and think about. Its tokens reveal our own part in the process by denoting what are "referred to as items present in experience" (Castañeda 1981, 285-6). If you hear me say, "Take that box over there and set it next to this box here," you learn something about my orientation towards the referents in a way that is not conveyed by, "Take (...) the red box and set it next to the blue box." My indexical tokens express what they do not only because they issue from a unique spatio-temporal perspective that I happen to occupy, but also because they reflect my encounter with referents that are differently situated in that perspective. From your perspective, my here might be your there, my you your she, and within my own, a this differs from a that and one this diverges from another. Encounter and orientation within a perspective are the essential ingredients in indexical identification without which particular 'this's, 'that's, 'then's, 'here's, and 'beyond's would be denuded of individuating powess.1 There are several consequences of this description. First, indexical reference is ephemeral because perspective is constantly changing, rendering the indexical status of an entity relative to a given perspective temporary: 1 A this quickly turns into a that, and soon enough it is lost to experience and is not even a remote that; a you goes away and is replaced by another . . . Nothing is really an enduring you -- except God perhaps for the abiding mystic. (Castañeda 1989a, 69) Second, indexical reference is irreducible since non-indexical mechanisms of reference fail to express the subject's involvement or encounter with the referents that indexicals convey. Nor can the various indexicals be reduced to each other.2 Third, because each perspective is unique, indexical reference is essentially subjective.. (shrink)

Here are considered the conditions under which the method of diagrams is liable to include non-classical logics, among which the spatial representation of non-bivalent negation. This will be done with two intended purposes, namely: a review of the main concepts involved in the definition of logical negation; an explanation of the epistemological obstacles against the introduction of non-classical negations within diagrammatic logic.

This paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness, though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged for (...) a tentative Footian ‘aesthetics’. I bring them into conversation with some ideas from Iris Murdoch to elucidate what I think the import may be, for Foot, of depicting human form. (shrink)

Background Debates and controversies have shaped the understanding and the practices related to death determined by neurological criterion . Confusion about DNC in the public domain could undermine this notion. This confusion could further jeopardise confidence in rigorous death determination procedures, and raise questions about the integrity, sustainability, and legitimacy of modern organ donation practices.Objective We examined the depictions of ‘brain death’ in major American and Canadian print media to gain insights into possible common sources of confusion about DNC and (...) the relationship between expert and lay views on this crucial concept.Methods We gathered 940 articles, available in electronic databases, published between 2005 and 2009 from high-circulation Canadian and American newspapers containing keywords ‘brain dead’ or ‘brain death’. Articles were systematically examined for content using the NVivo 8 software.Results Our results showed problematic aspects in American and Canadian media, with some salient differences. DNC was used colloquially in 39% of the articles and its medical meaning infrequently defined . The neurological criterion for determination of death was mentioned in less than 10% of the articles, and life support in about 20% of the articles. Organ donation issues related to DNC were raised more often in Canadian articles than in American articles .Interpretation Further discussion is needed to develop innovative strategies to bridge media representations of DNC with experts’ views in connection with organ donation practices. (shrink)

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable (...) that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms. (shrink)

Even though tacit legal norms are deeply important to our past, present, and future, the very idea of unwritten law has been difficult to pin down, and problematic in a range of ways. Existing discussions of the phenomenon fall short of adequacy on one of several fronts: either they have focused on describing the normative features of one kind of unwritten law, or completely conflated the study of unwritten law with natural law, or else offered examinations of unwritten social rules, (...) focussing on (mere) custom, ethics, and/or etiquette. A particular defect is the fact that unwritten law has not been given a treatment by those working in the tradition of analytical jurisprudence. My thesis introduces a novel means of analyzing and explicating the elusive concept of unwritten legal rules, striving thereby to advance the state-of-the-art. In what follows I argue that unwritten laws are informally publicized rules held on the threat of formal sanction by an appropriate political authority. I argue that a law is informally disseminated just in case the appropriate governing theory of law, known to subjects, provides those subjects with a set of instructions about who to defer to concerning the contents of the law, absent dissemination in official venues. I propose that there are at least five potential kinds of unwritten law routinely recognized in legal studies: operations, implicit constitutions, justice norms, fiat rules, and secret laws. Through careful examination of extant theories of law (Aquinas, Hobbes, Foucault, Marx, Austin, Fuller, Hart, and Dworkin), I argue that there are identifiable structural features of the contents of these theories that make them more or less likely to endorse the legal validity of each kind of unwritten law. Throughout the course of the dissertation, I show how we are able to diagnose the ways in which these structural features of our theories of law differentially support the validity of—and shed important, additional light upon—each potential variety of unwritten law. (shrink)

Published in extended form as "Endurants and Perdurants in Directly Depicting Ontologies", -/- We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes and the enduring entities that participate in such processes. For this purpose we distinguish between ontologies and metaontology. Ontologies are based on very simple directly depicting languages and fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and result in distinct (...) though compatible systems of categories. In a SNAP (snapshot) ontology we have the enduring entities in a given domain as they exist to be inventoried at some given moment of time. In a SPAN ontology we have perduring entities such as processes and their parts and aggregates. We argue that both kinds of ontology are required, together with the meta-ontology which joins them together. On the level of meta-ontology we are able to impose constraints on ontologies of a sort which can support efficient processing of large amounts of data. (shrink)