The aim of my dissertation is to show that artistic innovation in picture-making contributes to our philosophical understanding of pictures. Advancement in pictorial art, I contend, is a manifestation of a unique possibility in which the vehicle and the content of pictorial representation are united. My primary example is Chuck Close’s pixelated portrait. Close’s pixelated work is produced in such a way that its success in representing a face depends on the visual construction his viewers undertake. To grasp (...) a face represented (the content) we need to visually grasp the pattern of shapes and colors that represent the face (the vehicle). Following a historical case study—focusing on the 16th Century in Italy—where depictive practice and theory reflect and possibly trigger each other’s development (Chapter One), the unique experience Close’s work occasions is put into dialogue with philosophical questions about depiction. I challenge, with Close’s work, the idea that the vehicle of pictorial representation is a flat surface with marks on it. Instead, I argue, the vehicle of pictorial representation itself is an image. That we experience the vehicle—which I call ‘design’—as a surface feature is, I argue, responsible for a pictorial illusion (Chapter Two). I then attempt to resolve a spatial tension within the pictorial experience: our awareness of the picture (a tangible object) and what it represents (a scene we ‘see’ in the picture). When the viewer’s visual grasp of the picture’s design is combined with their understanding of what it stands in for, the experience has a twofold structure (Chapter Three). I further discuss whether there is a kind of property—referred to as an ‘inflected property’—that we can experience only through pictures. I propose that Close’s pixelated face is an instance of such a case (Chapter Four). I end with a discussion of pictorial interpretation. I propose that we take the notion of ‘seeing-in’ as a method for understanding pictures and discuss the distinctive phenomenology that a successful interpretation of a pictorial representation can bring about (Chapter Five). (shrink)

Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive (...) contribution of inflection to pictorial aesthetics. Two kinds of inflected seeing-in are distinguished in terms of two functions the design properties of a picture can realize. One kind of inflected seeing-in allows us to experience how the picture design sustains what is seen in the picture and is responsible for the representation of the picture subject. The second kind, which is only supported by some pictures, also captures how properties of the vehicle alter or enrich the picture content so as to elicit an experience of the depicted subject as having properties it could not be seen as having in face-to-face experience. This inflected experience is distinctively associated with our visual experience of the aesthetically valuable relations between vehicle and content which are unique to pictorial representation. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have (...) claimed great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

I argue that if we read E. H. Gombrich's Art and Illusion with the charity that it deserves, we will find a much subtler theory of depiction than the illusion theory that is usually attributed to Gombrich. Instead of suggesting that pictures are illusory because they cause us to have experiences as of seeing the depicted objects face to face, I argue that Art and Illusion is better read as making the point that naturalistic pictures are illusory because they (...) cause us to see qualities and properties that the pictures themselves do not possess. Once we appreciate this point, we will be in a better position to appraise the value and limits of naturalistic art. (shrink)

In this paper, I want to argue for two main and related points. First, I want to defend Richard Wollheim’s well-known thesis that the twofold mental state of seeing-in is the distinctive pictorial experience that marks figurativity. Figurativity is what makes a representation pictorial, a depiction of its subject. Moreover, I want to show that insofar as it is a mark of figurativity, all seeing-in is inflected. That is to say, every mental state of (...) class='Hi'>seeing-in is such that the characterisation of the properties by which a certain subject is seen in a given picture as having refers to the design properties of the picture’s vehicle, i.e., to the visible surface properties of that vehicle that are responsible for the fact that one such subject is seen in it, precisely taken in such a design role. Finally, I will try to show that seeing-in is qualified by inflection independently of whether it is conscious or unconscious seeing-in. (shrink)

This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived (...) as a non-sensory feeling. Ordinary objects are felt but not seen to be present. On the other hand, the contents of perception are determined by the actualization of perceptual-recognitional abilities. Unlike current versions of the feeling-based account of the sense of presence, I claim that these abilities enable us to perceive worldly (partial or overall) appearances. This claim justifies the strongest interpretation of recognition theories which does not fall back on the view that pictorial experience involves a kind of perceptual illusion. (shrink)

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)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports (...) seeing-in. But can that seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

Pictures let us see what is not there. Or rather, since what pictures depict is not really there, we do not really see the things they are pictures of. Ever since Richard Wollheim introduced the notion of seeing-in into philosophical aesthetics, as part of his theory of depiction, there has been a lively debate about how, precisely, to understand this experience. However, one (alleged) feature of seeing-in that Wollheim pointed to has been almost completely absent in the subsequent (...) discussion, namely that seeing-in allows for non-localization. When looking at a picture, Wollheim says, there is not always an answer to the question of where one sees a certain thing in a picture. If Wollheim is right in this, pictures indeed let us see what is not there: we see things in pictures, but there is no ‘there’ where we see those things. In this paper I argue against Wollheim's claim that object-seeing-in allows for non-localization. But there is, I argue, a pictorial experience, which is closely tied to seeing-in and which is non-localized, namely (what I call) pictorial perceptual presence. (shrink)

This paper proposes that pictorial experience, the experience that pictures give rise to when we understand them, involves the non-veridical experience of seeing the picture's subject matter. Using phenomenological analysis and material from philosophy of mind and perceptual psychology, it argues that both pictorial experience lacking awareness of the picture surface, such as illusion, and pictorial experience that includes this awareness, i.e. seeing-in, should be understood in this way.

In this paper I shall argue that useful correspondences can be drawn between the role of depiction in showing a view of the world and the realisation that would view God as a picture of experience in the world, since both can be seen to illustrate an art of interpretation. The perceptual insight that is gleaned in mystical-philosophical consciousness converges on the idea of a realm that is marked as divine, and by exploiting mental and linguistic imagery this mindful awareness (...) can be made concrete in the form of a written text, which can be seen to be analogous to a pictorial representation. The writer of a text purportedly sees and knows the domain of divine reality through sensible and conceptual means and then reduces this consciousness to a planar form, which is observable as an artistic rendering. The reader, who is at the same time a viewer, is invited to perceptually and imaginatively attend to the artifact as a manifestation of the experient's understanding of the functional nature of God, and in this apprehension of the divine scenario in the textual picture the interpretative motif of God-in-the-painting is revealed. (shrink)

It has recently been suggested that seeing-in can sometimes be central to the aesthetic appreciation of pictures. The key concept is that of inflected seeing-in, a special case of picture perception connected with the wollheimean notion of twofoldness. In order to further understand inflection, I focus on Nanays account. He holds that conscious attention is essential to inflected seeing-in. I agree, but I suggest our conceptualization of the properties of the pictorial vehicle is necessary (...) to account for the complexity of this experience. Developing a suggestion from Wollheim, I then characterize inflected pictorial experience in terms of different pictorial hows and our grasping of them. This makes it possible to account for the intuitive link between properties of experiences and properties of the pictures that trigger them, as well as for the appealing idea that our conscious apprehension of the way a picture depicts its subject - what I may call the pictorial hows - plays a significant role in our aesthetic experience of pictures. I finally look at these results in the more general perspective of a representationalist theory of aesthetic experience. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by (...) the picture. Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

It is generally agreed that Edmund Husserl’s theory of depiction describes a three-fold experience of seeing something in pictures, whereas Richard Wollheim’s theory is a two-fold experience of seeingin. The aim of this article is to show that Wollheim’s theory can be interpreted as a three-fold experience of seeing-in. I will first give an overview of Wollheim and Husserl’s theories of seeing-in, and will then show how the concept of figuration in Wollheim’s theory is analogous to the (...) concept of the image subject as the depicted object in Husserl’s theory. I will claim that our experience of non-figurative pictures is a two-fold seeing-in, while that of figurative pictures is a three-fold seeing-in. (shrink)

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by (...) the picture. Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

The focus of this paper is on E. H. Gombrich's claim that pictorial perception is a case of illusion. My aim is to point out that, on the one hand, the interpretation of this claim that is widely accepted in pictorial theory is not supported by Gombrich's analysis of pictorial perception; and, on the other hand, that the interpretation of the claim that I see as more compatible with Gombrich's analysis is not consistent with relevant facts about (...) our relation to pictures. However, I will argue, Gombrich's elaboration of the claim of illusion is significant to the extent that it highlights important aspects of the system of pictorial representation. (shrink)

[Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining (...) class='Hi'>seeing. Neither view gives a correct account of how the spectator distributes his attention between the marked surface and the represented object. /// [Robert Hopkins] I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

Pictorial free perception reports are sequences in comics or film of one unit that depicts an agent who is looking, and a following unit that depicts what they see. This paper proposes an analysis in possible worlds semantics and event semantics of such sequences. Free perception sequences are implicitly anaphoric, since the interpretation of the second unit refers to the agent depicted in the first. They are argued to be possibly non-extensional, because they can depict hallucination or mis-perception. The (...) semantics proposed here employs an account of anaphora using discourse referents, a formalized possible worlds semantics for pictorial narratives, and, to model the epistemic consequences of perceptual events, the event alternative construction from dynamic epistemic logic. In intensional examples, the second unit depicting what is seen is analyzed as embedded. It is argued that a semantics for embedding where the attitudinal state of the depicted agent is required to entail the semantic content of the picture attributes too much information to the agent. This is addressed with a model of normal looking, and a semantics for the embedding construction that uses existential quantification over alternatives, rather than universal quantification. (shrink)

There is a popular view on depiction which holds that convincingly realistic paintings depict their subjects through evoking in the spectator the illusion of seeing these very subjects face to face. There is, as it were, an exact 'match' between the visual experience of seeing something in a picture and the corresponding visual experience one would entertain if one were to stand in front of the real thing. This view, which we shall call 'illusionism', supports the widespread assumption (...) that some kinds of pictures -- notably post-Renaissance perspective paintings -- provide the correct, 'natural' way to depict physical space because they capture the way the visual system enables one to see the world. The most notable defence of illusionism has been offered by Ernst Gombrich. In his Art and Illusion, Gombrich (1960) argues that the development of Western art consists in a series of discoveries about the nature of visual perception that eventually lead to pictorial techniques that are able to elicit illusionary visual experiences on part of the spectator and thus reach the perfection of naturalistic representation. (shrink)

I will try to show that seeing-as doubly grounds seeing-in. First, I will urge that a seeing-as of a certain kind, what I will call illusory seeing-as, partially constitutes the twofold experience of seeing-in, by being what the proper ‘seeing-in’- fold of that experience really amounts to: the experience of illusorily yet awarely seeing the picture’s image as the picture’s subject, in other terms, an experience of aware misrecognition of that image as that (...) subject. Secondly, I will argue that such an illusory seeing-as rests upon a seeing-as of another kind, what I will call organizational seeing-as. This latter seeing-as consists in grasping certain grouping properties of the picture’s image while facing that image, i.e., the properties of the image’s elements to be grouped, or organized, in a certain way, i.e., under a certain orientation. I will indeed claim that entertaining a seeing-as of the latter form explains why one recognizes, although (knowingly) incorrectly, the picture’s image as a certain subject. For such a seeing-as consists in grasping roughly the same properties one would grasp when facing that subject. From this, a further interesting result follows: objective resemblance, or mimesis, in grouping properties between the picture and its subject is a necessary condition of pictoriality, of what makes a representation a pictorial representation, hence ultimately is a necessary condition of depiction. (shrink)

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

Can static pictures depict motion and temporal properties? This is an open question that is becoming increasingly discussed in both aesthetics and the philosophy of mind. Theorists working on this issue have mainly focused on static pictures of dynamic scenes and streaky images – such as futurists’ paintings or long-exposure photographs. And yet, we could ask: if there is some success in creating an illusory impression of movement in a static image - as is the case in optical illusions of (...) movement, such as Bridget Riley’s Fall (1963: Tate, London), or Kitaoka’s Rotating Snakes Illusion - is this to say that such static images depict movement? As far as I know, no one working on the depiction of motion has specifically and systematically tackled motion-based illusions nor tried to answer this question. This paper considers two cases of optical illusions of movement and concludes that one of them is involved in the depiction of movement. While the declared goal of my analysis is to answer a quite circumscribed question, it is also the occasion to tackle motion-based illusions tout court - to account for the complex visual experiences they elicit and related phenomenology. Moreover, this account has interesting consequences for theorizing depiction and pictorial experience in general. In particular, it constitutes a counterexample to resemblance theories of depiction. (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)

It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures (...) in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)

There is a common assumption about pictures, that seeing them produces in us something like the same effects as seeing the things they depict. This assumption lies behind much empirical research into vision, where experiments often expose subjects to pictures of things in order to investigate the processes involved in cognizing those things themselves. Can philosophy provide any justification for this assumption? I examine this issue in the context of Flint Schier's account of pictorial representation. Schier attempts (...) to infer the assumption from what he takes to be the fundamental facts about picturing. I argue that there is no plausible form of Schier's basic claims from which the assumption can be inferred. I then reject a second argument, that by appealing to the assumption Schier could explain why it is impossible to depict a particular without depicting it as having certain properties. I conclude that those sympathetic to the assumption need to articulate and defend some version of it suited to their needs. (shrink)

In this paper I argue for a syncretistic theory of depiction, which combines the merits of the main paradigms which have hitherto faced themselves on this issue, namely the perceptualist and semioticist approaches. The syncretistic theory indeed takes from the former its stress on experiential factors and from the latter its stress on conventional factors. But the theory is even more syncretistic than this, for the way it accounts for the experiential factor vindicates several claims defended by different perceptualist theories. (...) In a nutshell, according to the syncretistic theory a picture depicts its subject iff i) it is transformed into an entity-cum-meaning and ii) one has the twofold experience of seeing that subject in the picture qua noninterpreted entity, the image, just in case one consciously misrecognizes it in consciously seeing that image, for that subject resembles the image in some grouping properties (originally labelled Gestalt-qualities in psychology). By appealing to objective resemblance in grouping properties, the theory can vindicate what are nowadays taken to be the most neglected doctrines in the perceptualist camp: objective resemblance theories. By appealing, moreover, to conscious misrecognition, the theory not only squares with both the seeing-in and the recognition theories of depiction, but it also shows the grain of truth in illusion theories of depiction, since conscious misrecognition is a kind of perceptual illusion. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

When Wittgenstein claims that "the expression of a change of aspect is the expression of a new perception and at the same time of the perception's being unchanged" (Wittgenstein 1953: 196), he expresses a paradox that Gombrich (Gombrich 1960) modifies in this way: (a 1) the observer x perceives a picture P under a new aspect; (b 1) if x perceives P under a new aspect then x's perception of P has changed; (c 1) but x's perception of P has (...) not actually changed. I argue that the Gombrich's version of the paradox has become the core of the problem of the pictorial representation. As I will explain, different approaches to depiction solve the paradox by denying one among (a 1)-(c 1). Gombrich rejects (c 1). Wollheim rejects (a 1). The so-called psychological theories of depiction also reject (a 1). Every theory of depiction should face what I call the Fictional Issue (FI) and the Representational Issue (RI). Attempting to solve FI and RI, I shall explore an alternative, Wittgensteinian solution, which implies to reject (b 1). To do this, we have to interpret the seeing-as as made of two kinds of perception: a simple perception and a representational perception. (shrink)

What is special about photographs? Traditional photography is, I argue, a system that sustains factive pictorial experience. Photographs sustain pictorial experience: we see things in them. Further, that experience is factive: if suchandsuch is seen in a photograph, then suchandsuch obtained when the photo was taken. More precisely, photographs are designed to sustain factive pictorial experience, and that experience is what we have when, in the photographic system as a whole, everything works as it is supposed to. (...) In this respect photographs differ from handmade pictures, and from other information-preserving tools, such as the readings on a geiger counter. This distinctive feature can be used to explain what is epistemically special about photographs, and also to give an account of the distinctive phenomenology of looking at a photograph rather than a handmade picture. All this provides the background against which to assess claims that digital photography differs from traditional in certain key ways. (shrink)

The central thesis (CT) that this paper upholds is that a picture depicts an object by generating in those who view the picture a visual experience of that object. I begin by presenting a brief sketch of intentionalism, the theory of perception in terms of which I propose to account for pictorial experience. I then discuss Richard Wollheim’s twofoldness thesis and explain why it should be rejected. Next, I show that the socalled unique phenomenology of pictorial experience is (...) simply an instance of perceptual indeterminacy. Lastly, I discuss a phenomenon associated with pictures that could be considered a problem for CT, and account for it by invoking the thesis that visual experience is cognitively penetrable. (shrink)

This paper develops Richard Wollheim’s claim that the proper appreciation of a picture involves not only enjoying a seeing-in experience but also abiding by a standard of correctness. While scholars have so far focused on what fixes the standard, thereby discussing the alternative between intentions and causal mechanisms, the paper focuses on what the standard does, that is, establishing which kinds, individuals, features and standpoints are relevant to the understanding of pictures. It is argued that, while standards concerning kinds, (...) individuals and features can be relevant also to ordinary perception, standards concerning standpoints are specific to pictorial experience. Drawing on all this, the paper proposes an ontology of depiction according to which a picture is constituted by both its visual appearance and its standard of correctness. (shrink)

This study aims at exposing the phenomenological description of attention as presented by Husserl in his 1904-05 Göttingen-lecture Principal Parts of the Phenomenology and Theory of Knowledge, in its relevance for the study of so-called “intuitive re-presentations”, that is, phantasy and image-consciousness. Starting with the exposition of the fundamental traits of the intentional theory of attention, this study discusses the definition of attention in the terms of meaning [Meinen] and interest, which allows it to become an encompassing modification of all (...) kinds of lived experiences that does not imply an alteration of their act-character (Husserl, 2004: 73). We refer to this character of attention as “plasticity”. In what follows, the study underlines these two definitions of attention and their importance for the understanding of phantasy and image-consciousness. Both kinds of re-presentations will be described stressing the role of attention in the “structuring” of the intentional act and in its affective basis. Finally, the study deals more specifically with the complex description of image consciousness from the viewpoint of the attentional meaning of the image subject. (shrink)

We seem, or so it seems to some theorists, to experience a rich stream of highly detailed information concerning an extensive part of our current visual surroundings. But this appearance, it has been suggested, is in some way illusory. Our brains do not command richly detailed internal models of the current scene. Our seeings, it seems, are not all that they seem. This, then, is the Grand Illusion. We think we see much more than we actually do. In this paper (...) I shall (briefly) rehearse the empirical evidence for this rather startling claim, and then critically examine a variety of responses. One especially interesting response is a development of the so-called ‘skill theory’, according to which there is no illusion after all. Instead, so the theory goes, we establish the required visual contact with our world by an ongoing process of active exploration, in which the world acts as a kind of reliable, interrogable, external memory (Noe, Pessoa and Thompson (2000), Noe (2001). The most fully worked-out versions of this response ( Noe and O’Regan (2000), O’Regan and Noe 2001) tend, however, to tie the contents of conscious visual experience rather too tightly to quite low-level features of this ongoing sensorimotor engagement. This (I shall argue) undervalues the crucial links between perceptual experience, reason and intentional action, and opens the door to a problem that I will call ‘sensorimotor chauvinism’: the premature welding of experiential contents to very specific details of our embodiment and sensory apparatus. Drawing on the dual visual systems hypothesis of Milner and Goodale (1995), I sketch an alternative version of the skill theory, in which the relation between conscious visual experience and the low-level details of sensorimotor engagement is indirect and non-constitutive. The hope is thus to embrace the genuine insights of the skill theory response, while depicting conscious visual experience as most tightly geared to knowing and reasoning about our world.. (shrink)

The philosophical investigation of perceptual illusions can generate fruitful insights in the study of subjective time consciousness. However, the way illusions are interpreted is often controversial. Recently, proponents of the so-called dynamic snapshot theory have appealed to the Waterfall Illusion, a kind of motion aftereffect, to support a particular view of temporal consciousness according to which experience is structured as a series of instantaneous snapshots with dynamic qualities. This dynamism is meant to account for familiar features of the phenomenology of (...) time, such as succession, continuity, and change. Previous theories have typically appealed to a subjective present occupying an interval of time; that is, a “specious present.” I argue, through analysis of motion aftereffect illusions and the rare condition of akinetopsia, i.e. motion-blindness, that the Waterfall Illusion fails to support the dynamic snapshot theory as intended. Furthermore, I suggest that future theories of subjective time should see temporal phenomenology as the result of non-localised processes closely tied to the mechanism underlying consciousness generally. (shrink)

In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression . He goes on to (...) say that in a picture a triangular figure may have some such aspect permanently — in the pictorial context we would read the figure at once as a mountain — but that we can make a distinction between ‘regarding’ and ‘seeing’ the figure as the thing meant. I take him to be contrasting those common experiences in which we see a figure in a picture as depicting a person, or as a ‘picture-person’, with those rarer experiences, referred to by art-critics when they talk of ‘presence’, in which it seems as if the person depicted in the picture is there before us ‘in the flesh’, and I assume that, like Sartre, Wittgenstein would suppose that imagination plays a part in experiences of this latter kind. In this paper I shall be concerned not with this sense of the presence of the object depicted, but chiefly with types of imaginal experience in which the image which seems to come into contact with what is perceived is an image of something which is not depicted or described in the work, but which nevertheless achieves a certain strength of presence. I shall consider, also, some types of imaginal experience which we would not naturally describe as an image's coming into contact with what is perceived. Though I shall relate some of the examples I discuss to my starting-point in Wittgenstein, I do not claim to be elaborating Wittgenstein's remark in a manner which would have been acceptable to him. My aims are to give some indication of the nature and scope of the imaginal experience of art, to defend the aesthetic relevance of this type of experience, and to suggest why the imaginal experience of art has been, and still is, valued. (shrink)

In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression. He goes on to say (...) that in a picture a triangular figure may have some such aspect permanently — in the pictorial context we would read the figure at once as a mountain — but that we can make a distinction between ‘regarding’ and ‘seeing’ the figure as the thing meant. I take him to be contrasting those common experiences in which we see a figure in a picture as depicting a person, or as a ‘picture-person’, with those rarer experiences, referred to by art-critics when they talk of ‘presence’, in which it seems as if the person depicted in the picture is there before us ‘in the flesh’, and I assume that, like Sartre, Wittgenstein would suppose that imagination plays a part in experiences of this latter kind. In this paper I shall be concerned not with this sense of the presence of the object depicted, but chiefly with types of imaginal experience in which the image which seems to come into contact with what is perceived is an image of something which is not depicted or described in the work, but which nevertheless achieves a certain strength of presence. I shall consider, also, some types of imaginal experience which we would not naturally describe as an image's coming into contact with what is perceived. Though I shall relate some of the examples I discuss to my starting-point in Wittgenstein, I do not claim to be elaborating Wittgenstein's remark in a manner which would have been acceptable to him. My aims are to give some indication of the nature and scope of the imaginal experience of art, to defend the aesthetic relevance of this type of experience, and to suggest why the imaginal experience of art has been, and still is, valued. (shrink)

What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them? ;The traditional view of aesthetic perception describes a mode of disinterested contemplation, free from the cognitive and utilitarian strictures conditioning ordinary awareness. Philosophers have challenged this view on analytical, marxist, (...) feminist, pragmatist, and postmodernist grounds. Through interrelation and contextualization requirements, aestheticians have attempted to salvage the notion of an aesthetically appropriate mode of appreciation . But the nature of this kind of appreciation depends on the nature of the small-scale experiential states that form its substance, namely, the experiences of aesthetic properties. ;These experiences are peculiar. Conceptually complexer than pure sensations, and phenomenally richer than sheer imaginings and cognitions, aesthetic experiences exhibit significant parallels and differences with other states of mind. They display a rocky distribution over various sense modalities, a selective sensitivity to contextual factors, and a striking interconnectedness among themselves. Current analyses in terms of cognition, imagination, metaphorical understanding, nonaesthetic sensation, and counterfactual perception have trouble accommodating their coherence and stability. With the assistence of theoretical work on categorization, perception, and qualia , I propose to locate a more fine-grained attitude at the basis of aesthetic experience, involving perceptually driven conceptualizations, arising through processes of progressive phenomenal differentiation. I substantiate this proposal by considering a number of pertinent phenomena in aesthetics, namely the role of imaginings in pictorial and musical perception; the function of artistic categories, and the experience of seeing objects in depictions. ;This view, call it the conceptualizations view, allows us to identify the distinctive artistic functioning of aesthetic experience--its role as an intermediary between different domains of artistic meaning--while respecting its variety and its relations with other forms of mentation. Thus we can clarify its formative role within the aesthetic sphere at large, and, most importantly, its connection with value. (shrink)

When we see something in a picture, do we enjoy visual experience as of the depicted object? Gombrichians say yes: when viewing ordinary pictures we simultaneously see the picture and seem to see its object. But why, then, isn’t seeing-in contradictory, and how are these two elements somehow integrated into a single experience? Gombrichians’ attempts to answer appeal either to our awareness of the picture’s design, or to the idea that picture and object are not given as in the (...) same place. I argue that neither answer is successful, and thus that Gombrichianism is false. (shrink)

In order to introduce the text description of this class will show seven keywords, they represent In order to understand the general process for the seven. Need to mention is that the author published in Chinese script - title "Gadamer's philosophy of the seven key" - and this content is not the same. In fact, only one in that the use of key words in this speech mentioned the four key words will be used the next article. 1 Linguistics as (...) high as the United States in the "real management and methods," a book in the last third of the contents of the specified language is "the universal medium of interpretation of experience." It is in this medium, things are understood, understanding and interpretation to occur. It is the fundamental and the first thing on a switch, it makes things possible, without it, understanding must not occur. It is in this medium, the real management there, although in terms of the real incidence of management and is not limited to this medium. Sprachlichkeit is up to the universal language of the United States to name the first of of a proper noun. history of as language, history is a popular media, and history is also rising to become "a hermeneutical principle." To understand history, which must be traced back to Heidegger, "and there is time," the first six parts, entitled "Timing and historical nature." This title has been out of correct revelation, history is the study of this structure there is some a result of this there is the same as in the past and the present one there, it was possible there through his plans and will itself which extend to the future. Dilthey on Heidegger benefit of this term and its historical significance, but that裡Dilthey, the basic processes of life, and in Heidegger, the basic process is still alive there in the past and future Among the visual field. It is a learning process rather than the life there is a process, there is a process rather than the life philosophy of life regardless of the process. Dilthey and Gadamer and Heidegger places of historical analysis for the premise. 3 by the historical role of awareness up to the United States, this keyword has not appeared in from Schleiermacher, Dilthey, or Heidegger that裡. But Heidegger once spoke to the author, the concept represented by the word directly from Dilthey and future. Indeed, the word and the "fusion of" two persons都benefit from Hegel and Dilthey, Heidegger than In order to impact. At the same time, for the resumption of encounter with the text of the history of this effort directly, the recall In order to Heidegger and Qike fruit. Up to the United States shows that it is essential that "the existence of the structure." That is to say, it is usually associated with the text coming from a tradition, crushed In order to present before the sight. 4 hermeneutics into the cycle and see in understanding the structure and the first cycle between hermeneutics, there is a close link. Hermeneutics and the cycle regardless of such a concept, not only from a part of the overall future understanding, understanding from the part of the overall future. This is a logical contradiction, but it depicts In order to understand the kind of work does not have the way to recovery. This is to see What are the relationship? Up with the United States use this word in the former understanding of the meaning of a person he can understand any part of the text and context before, must have a pre-understanding. When Schleiermacher hermeneutics for the cycle to take a more formalistic point of view, he also participate in an objective and subjective look for. In order to reject the United States is up for the subjective, and he describes, in understanding the text, our understanding of a person but a different meaning, and this sense of ownership in a situation with a theme of the event . Heidegger the hermeneutic circle and put the world on their own understanding of the context in which the world is time and the existence of the world, in order to In order to reinvent the meaning of hermeneutic circle. It exists in the time being and is expected to forward to the future, it is a person exists in the world of all possibilities of a personal meaning. Gadamer Heidegger and then one more step beyond, he is defined as the cycle of hermeneutics and the interpretation of the traditional sports were a correlation between the movement. Heidegger's masterpiece裡tradition and not important, but those for the traditional and the interpretation of the relationship between text, up to the U.S. In order to play an important role in the analysis. Up to the United States, brought into the discussion In order to "complete expectation" that the key concept, it is subject to the historical role of awareness of the operation of the core. In this part of the contents of the directory for the present review is to show to some of the major associated. 5 authority and tradition up to the United States on the authority of the traditional view is that from his understanding and the hermeneutic circle before the concept developed in the future. Enlightenment for the suspect an effort made ​​to switch the authority of the United States to see coming up is one-sided, because the authority is naturally found in the leading field in a PhD, the referee, professors and experts. Recognize these people for a topic you know even in the natural and appropriate. So regardless of up to his brother's wife is not a legitimate authority and legitimate authority, and authority as a concept to see the future is appropriate. Similarly, our traditional understanding among the living, and we should explore a more deeper with our traditional relationship. Traditional German text is Űberlieferung, incurs passed along . Once again, as a fair decision without dialogue and is not legal to see, up to the United States against this anti-traditional views of the Enlightenment. 6 Depending on the domain of integration sight philosophy of integration is another sign up to the United States is not to find elsewhere. Basically, the text of the encounter with a sight In order to involve the integration of text and interpreter of the visual field of sight. And a man's own awareness is a fusion of traditional with the product. "That is convenient to get a sight of their own, but also requires a fusion of traditional with." In order for each dialogue also involves a fusion of sight. It is a wildcard description of the terminology. 7 Dialogue dialogue leading up to the U.S. interpretation of the theme of philosophy, relying on a life of his ideal, he as such a show of openness. Schleiermacher as high as the United States in general, is a talented rapper. However, the need for a fruitful dialogue open to others point of view, and the need to recognize that he or she may be right. In a true dialogue, both sides都want to talk more close to the truth regardless of management topics, which are more important than winning. Finally, the dialogue is a basic hermeneutical tool, a means to understand, so we coming close to the theme of the issue, but ready to change our point of view. An introductory section explains that the lecture will present seven key terms, representing seven aspects of the universal process of understanding. It is noted that a published lecture in Chinese by this author under the title "Seven Key Terms in the Philosophy of Hans-Georg Gadamer "is not the same as this, and indeed only one of the terms in that lecture is used in this one, although four of them are used in tomorrow's lecture. An introductory section explains that the lecture will present seven key terms, representing seven aspects of the universal process of understanding. It is noted that a published lecture in Chinese by this author under the title "Seven Key Terms in the Philosophy of Hans-Georg Gadamer" is not the same as this, and indeed only one of the terms in that lecture is used in this one, although four of them are used in tomorrow's lecture. 1. Sprachlichkeit-Linguisticality As Gadamer notes in the final third of Truth and Method, language is the "universal medium of hermeneutical experience." It is the medium in which things are understood, the medium in which understanding and interpretation take place. It is fundamental and prior to everything. It makes things possible, and without it understanding cannot take place at all. It is the medium in which truth happens, although there is more than this to the happening of truth. Sprachlichkeit is the term Gadamer uses to name the "universal priority" of language. 2. Geschichtlichkeit-Historicity Like language, history is a universal medium, and historicity is raised to the status of "a hermeneutical principle. "To understand historicity, one has to go back to the six sections of Heidegger's Being and Time that carry the heading" Temporality and Historicity. "Already this title correctly suggests that historicity is a consequence of the ontological structure of Dasein as a being that lives with a past and a present, and also extends itself into the future through projecting possible being. Heidegger is indebted to Dilthey for the term and sense of historicity, but in Dilthey the basic process is life, whereas in Heidegger, the basic process is being-in-the-world in horizons of past and future. It is an ontological process rather than a life process, a process of being rather than the vitalism of life in life-philosophy. Gadamer presupposes Dilthey's and Heidegger's analysis of Geschichtlichkeit . 3. das wirkungsgeschichtliche Bewusstsein-the Historically Effected Consciousness This is a key term in Gadamer that does not appear in Schleiermacher, Dilthey, or Heidegger. Heidegger once remarked to the author that the idea that this term represents is straight out of Dilthey. Certainly it and the "fusion of horizons" are more indebted to Hegel and Dilthey than to Heidegger. At the same time, the effort to restore the historical immediacy of encounter with a text recalls Heidegger and Kierkegaard. Gadamer argues that the essence of it is " the structure of experience. "That is to say, it shatters the present horizon, usually with a text from tradition. 4. Hermeneutische Zirkel and Vorurteil-Prejudice and the Hermeneutical Circle There is an intimate connection between the fore-structure of understanding and the hermeneutical circle. The hermeneutical circle refers to the idea that one understands the part from the whole, but also the whole from the parts. This is a logical contradiction, but it describes the back and forth way that understanding works. What has this to do with prejudices ? Gadamer uses this word as synonymous with pre-understanding, and one has to have a prior understanding before one can understand any part of a text or situation. While Schleiermacher took a more formalistic view of the hermeneutical circle, he also looked at the objective and subjective sides. Gadamer rejects the subjective side and explains that in understanding a text we are not understanding a person but a meaning that resides in a situation and a subject-matter. Heidegger revolutionized the meaning of the hermeneutical circle by placing it in the context of an understanding of self and world that is temporal and existential. It exists in time and anticipates a future, and it is the personal sense of one's possibilities for being in the world. Gadamer took a step beyond Heidegger by defining the hermeneutical circle as the interplay between the movement of tradition and that of the interpreter. Tradition plays little role in Heidegger's masterwork, but it and the interpreter's relation to the text loom large in Gadamer's analysis. The discussion brings in the key concept in Gadamer of the "anticipation of completion" which is central to the working of historically effected consciousness. A review of the table of contents for the section is presented to show some of the major relationships. 5. Autorität und Tradition-Authority and Tradition Gadamer's views with regard to authority and tradition grow out of his concepts of preunderstanding and the hermeneutical circle. The effort by the Enlightenment to discredit all authority seemed one-sided to Gadamer because authority is naturally accorded to doctors, judges, professors, and other experts in a field. To acknowledge that they know more about a subject than you do is natural and appropriate. So Gadamer speaks of legitimate authority and illegitimate authority, but authority as a concept seems appropriate. Likewise, tradition inhabits our understanding, and we should seek an ever deeper relationship to our tradition. The German word for tradition is Űberlieferung, that which is handed down. Again, Gadamer takes up arms against the Enlightenment prejudice against tradition as illegitimate without dialogue or a fair trial. 6. Horizontverschmelzung-Fusion of Horizons The "fusion of horizons "is another trademark of Gadamerian philosophy. It is not found elsewhere. Basically, the encounter with the text involves a fusion of horizons, that of the text and that of the interpreter. Also one's own consciousness is a product of a fusion of horizons with the tradition. "Even to acquire one's own horizon requires a fusion of horizons with the tradition." Every conversation, too, involves a fusion of horizons. It is an all-purpose term. 7. Conversation Conversation is a leitmotif of Gadamer's hermeneutical philosophy, an ideal he lived by, an openness he exemplified. Schleiermacher was a gifted conversationalist, as was Gadamer. But a fruitful conversation requires openness to the viewpoint of the other person, and the acknowledgement that he or she could be right. In a true conversation both partners want to come closer to the truth about a matter, and that is more important than winning. Ultimately, conversation is a basic hermeneutical tool, a means of reaching understanding, so we approach a subject with questions, but ready to change our point of view. (shrink)

Walton has controversially claimed that all pictures are fiction because, in seeing a picture one imagines that one is seeing the depicted content in the flesh; and that in seeing a photograph one _literally – _although indirectly – _sees_ the photographed object. Philosophers have found these claims implausible for various reasons: it is not the case that all pictures are fiction; explaining depiction does not require an imaginative engagement and seeing objects in photographs is not tantamount (...) to seeing the object. I agree with Walton’s critics in all of these claims. However, I try to give some plausibility to Walton’s view. Firstly, I claim that is a misunderstanding. Second, I try to clarify Walton’s view of depiction by contrasting pictorial experience with perceptual experience more generally. Finally, I focus on the case of photographs and I l claim that although Walton is not right in claiming that _seeing_ objects _in_ photographs is a case of literally perceiving the objects, photographs share an important feature with perceptual experience: the content of photographs, like the content of pictorial experience, is particular in character, and that explains their peculiar phenomenology. I content, however, that the experience of photographs is closer to memory than to perception. (shrink)

This article examines the compatibility of intentionalism (also called ‘representationalism’) in the philosophy of perception with the thesis that we can visually experience an object by looking at a picture of that object (the pictorial experience thesis, or PET). I begin by presenting three theses associated with intentionalism and various accounts of depiction that uphold PET. Next, I show that pictures sometimes depict an object indeterminately, thereby rendering the alleged visual experience of the depicted object partly nonintentional. I then (...) argue that if PET is true, explaining pictorial indeterminacy on intentionalist premises is problematic. I conclude that PET is incompatible with intentionalism. (shrink)

The paper discusses Edmund Husserl’s threefold pictorial experience and the threefold aesthetic experience of pictures accordingly. It aims to show what the advantages are of the threefold account of pictorial experience, in contrast to the twofold account, to explain aesthetic experience. More specifically, it explains the role of the image object’s fold in aesthetic experience. The paper is divided into three parts. The first part explains and defends Husserl’s theory of threefold pictorial experience, which is an experience (...) of seeing-in or, in Husserl’s terminology, image consciousness. A comparison will be made with other seeing-in theories, especially with Bence Nanay’s threefold account of picture perception. The second part explains the relationship between the second and the third fold, namely the resemblance and difference between the image object and the image subject. The focus is on explaining the terms of analogizing and non-analogizing moments of the image object. The third part of the paper discusses Husserl’s theory of the threefold aesthetic experience of pictures. It will be shown that aesthetic attitude is turned toward the how of representation, instead of the what of representation. Also, a comparison between Husserl and Richard Wollheim’s theories of representation is made. More specifically, the paper will show that Richard Wollheim’s different hows of representation are similar to Husserl’s view on analogizing and non-analogizing moments of the image object. (shrink)

This brief research report presents an experiment investigating how people interpret quantities displayed in pictorial charts. Pictorial charts are a popular form of data visualization in media. They represent different quantities with differently scaled pictures. In the present study, 63 university students answered a 12-item questionnaire containing three different pictorial charts. The study aimed to evaluate how individuals perceive the quantities in the pictorial charts intuitively. Therefore, the students’ answers were not rated as correct or incorrect. (...) Instead, it was analyzed which functional relationship between scale factor and estimated quantity best described people’s interpretation of pictorial charts. The experiment showed that, on average, a model assuming a quadratic relationship fitted best. This result deviates from research that found an overgeneralization of linearity when students compare the areas of two mathematically similar shapes. It may be that the routines for the interpretation of pictures differ considerably depending on whether a person must calculate a quantity arithmetically or is prompted to estimate the quantity based on visual perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas—Between Philosophy and Rhetoric:The “Teaching” of Levinas’s Scriptural ReferencesClaire Elise KatzIn an interview titled "On Jewish Philosophy," Emmanuel Levinas illuminates the connection that he sees between philosophical discourse and the role of midrash in interpreting the Hebrew scriptures. His interviewer immediately expresses surprise at Levinas's comments that suggested he saw the traditions of philosophy and biblical theology as in some sense harmonious (quoted in Robbins 2001, 239). Levinas responds (...) by elaborating on this connection he sees. For him, the lived experience of Judaism is above all a sense of belonging to humanity and, in turn, to a supreme order of responsibility (240). Although his intellectual life focused on the sacred texts of Judaism, this life included non-Jewish books, which he believed expressed a similar concern or a similar responsibility—a concern for the meaning of life. This list of such books includes Hamlet, Macbeth, King Lear, The Miser, and The Misanthrope, in addition to the novels of Tolstoy and Dostoyevsky.In Levinas's view, these novels are not exercises of philosophyper se; as mentioned above, they express the same concerns that occupy philosophy, but they express these concerns in a different idiom. They do not offer a philosophical argument; instead, they use figurative language and literary narrative to convey their messages. By drawing this distinction between philosophy and literature, Levinas appears to have divided the written word into two categories: philosophy, on the one hand, and literary texts, on the other. Yet readers of his philosophical work cannot help but notice his frequent references to literary sources, including the numerous citations taken from the Jewish holy texts. His use of these citations encourages us to ask how we are to classify these books in general and how to classify, in particular, the Scriptures and the holy texts in Judaism. With regard to the holy texts in Judaism, should we classify them as simply a [End Page 159] literary device? Or, do they constitute a third category that falls somewhere in between philosophy and rhetoric? If the latter, then what is their status relative to these larger categories?Although Levinas insists on separating his two bodies of work—his philosophical writings and his Jewish writings—the distinction between them becomes increasingly blurred with his frequent introduction of citations from the Hebrew texts into his philosophy and by inflecting his Jewish writings with philosophical interpretations.1 In what follows, I examine the unique and significant role of Scriptural references within Levinas's philosophical work. My claim is that the Scriptural references are in fact rhetorical, but not "simply" rhetorical; they do pedagogical work for Levinas that other literary devices cannot accomplish. They engage his readers such that they are invited to grapple with the Scriptures in a manner potentially unfamiliar to them, and this invitation, in turn, has the pedagogical effect of attuning his readers to his texts and to his ethical project—even, one might say, to the other—and inviting them into an experience of transcendence.In the interview mentioned above, Levinas tells his interlocutor that for the Jews the Scriptures do not exist apart from the interpretations that accompany them. These interpretations are found in the collections of midrashim and the Talmud. One need know only a little bit about Hebrew and the construction of the Hebrew texts in order to see why these interpretations are significant. There are three grammatical concerns with the Hebrew language: first, biblical Hebrew does not contain vowels, though it does employ vowel aspirations; second, it is a language based on root letter combinations, and the meaning of these combinations alters, depending on the vowel aspirations that are inserted. For example, "Kiddish," the Hebrew blessing over wine, is based on a combination of Hebrew letters that are transliterated into English as KDSH. The blessing changes if we insert different vowel aspirations: "Kaddish" is the blessing said for those who have died. Third, biblical Hebrew lacks punctuation. Owing to the absence of vowels and punctuation, interpretation difficulties immediately emerge. The rabbinic model of midrash addresses these problems by offering multiple explanations and interpretations.Levinas, however, is not concerned with this aspect of the written language. Rather, he emphasizes... (shrink)

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations : in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than (...) is usually considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far-reaching consequences in aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PrefaceMary Jacobus (bio)Trauma theory, considered as a branch of psychoanalysis, focuses on the lasting effects on the psyche of events that—whether because of their devastating nature or because the psyche is unprepared or too immature to deal with them—cannot be integrated into the onward movement of patient’s lives. The trauma can never be undone; but perhaps the patient may be helped to live with, even mourn, its aftereffects. Some (...) approaches to trauma emphasize the event itself, along with the difficulty, and the need, to relive or re-present it. Some emphasize the structural nature of a trauma which may even be constitutive of subjectivity (castration anxiety, for instance, or primitive anxieties about separation and object loss). Still other approaches point to the meaning of the trauma to the individual, arguing that only by exploring the preexisting constellation of object relations can the significance of the trauma to that particular individual be understood. Trauma may plunge the survivor into never completed mourning, or replace an ordinary guilt with an unresolvable one. Whatever the different inflection of trauma theory, it derives its contours from psychoanalysis, past and present, and, in particular, from the impact on Freud and his successors of some of the most devastating and momentous historical events of modern times, including modern warfare, the Holocaust, and industrialization. But trauma theory also takes account of events that happen (both chronically and diachronically, so to speak) in the intimacy of the family and in the ambiguously interpersonal and social dimensions of sexuality, where events intersect with issues involving gender, power, and powerlessness as well as with preexisting psychic structures.The essays in this collection arise not only from the continuing engagement with trauma theory on the part of psychoanalysts in their clinical and therapeutic work with patients, but from the surge of interest in trauma theory viewed as a way to invest the study of literature with urgent concerns, at once topical and timeless, and to understand literariness itself. A number of essays included in this special issue focus on the notion of the archive, whether viewed as a form of record which remains in abeyance (Jonathan Elmer’s starting point for considering Jefferson’s encounter with the Native American past) or as the place of a misunderstanding, even destructiveness (the point of departure for Herman Rapaport’s reading of Derrida’s Archive Fever). Appropriately, this issue also includes a photo-essay by Laurie Sieverts Snyder, which represents not only a family archive but a collection of memories that inscribe a larger historical displacement and relocation. The intertwined evolution of trauma theory and war neurosis, and the consequent unsexing of trauma, can give rise to a post-Freudian inquiry into the writing of anxiety (such as we see in Lyndsey Stonebridge’s reading of the war novels of Henry Green, where war “is” sex). At the same time, we can glimpse how the belatedness of trauma not only gets recoded as suspension or “falling” but gives rise to a philosophic discourse of trauma (see Eleanor Kaufman’s reading of Perec’s W together with Cathy Caruth’s Unclaimed Experience). Given its centrality to contemporary literary-critical readings of trauma, it is not surprising that a number of essays should address Cathy Caruth’s work directly (many of the essays included here also do so indirectly). Her writing remains central to current literary and theoretical discussions of trauma, whether viewed as a phenomenology of trauma (as it is, for instance, by Eleanor Kaufman) or as a vantage point from which to define the modern predicament of mutually entangled histories, communities, and writings (this is how Petar Ramadanovic links Freud’s diasporic movement to the history of slavery and Toni Morrison’s Beloved). [End Page 3]The final section of this special issue returns trauma to the consulting room. Essays on pain (Mary Jacobus on the place of psychoanalysis “between” therapy and hermeneutics as represented by the writings of Wifred Bion) and melancholia (Angelika Rauch’s Kristevan essay on post-traumatic hermeneutics and problems in contemporary trauma therapy) pay particular attention to the question of interpretation in psychoanalysis. They also shift the discussion in the direction of contemporary post... (shrink)

This paper outlines a ‘perceptual account’ of depiction. It centrally contrasts with experiential accounts of depiction in that seeing something in a picture is understood as a visual experience of something present in the picture, rather than as a visual experience of something absent. The experience of a picture is in this respect akin to a veridical rather than hallucinatory perceptual experience on a perceptual account. Thus, the central selling-point of a perceptual account is that it allows taking at (...) face value the intuitive claim that we see things in pictures. Preserving this claim has a potential cost, however: we need to postulate that some kind of thing, T, is present in the realm of the picture, and it is not straightforward to find a plausible type of entity to play this role. The paper examines three alternative choices of T; T may be a material object, a visual appearance or a universal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas—Between Philosophy and Rhetoric:The “Teaching” of Levinas’s Scriptural ReferencesClaire Elise KatzIn an interview titled "On Jewish Philosophy," Emmanuel Levinas illuminates the connection that he sees between philosophical discourse and the role of midrash in interpreting the Hebrew scriptures. His interviewer immediately expresses surprise at Levinas's comments that suggested he saw the traditions of philosophy and biblical theology as in some sense harmonious (quoted in Robbins 2001, 239). Levinas responds (...) by elaborating on this connection he sees. For him, the lived experience of Judaism is above all a sense of belonging to humanity and, in turn, to a supreme order of responsibility (240). Although his intellectual life focused on the sacred texts of Judaism, this life included non-Jewish books, which he believed expressed a similar concern or a similar responsibility—a concern for the meaning of life. This list of such books includes Hamlet, Macbeth, King Lear, The Miser, and The Misanthrope, in addition to the novels of Tolstoy and Dostoyevsky.In Levinas's view, these novels are not exercises of philosophyper se; as mentioned above, they express the same concerns that occupy philosophy, but they express these concerns in a different idiom. They do not offer a philosophical argument; instead, they use figurative language and literary narrative to convey their messages. By drawing this distinction between philosophy and literature, Levinas appears to have divided the written word into two categories: philosophy, on the one hand, and literary texts, on the other. Yet readers of his philosophical work cannot help but notice his frequent references to literary sources, including the numerous citations taken from the Jewish holy texts. His use of these citations encourages us to ask how we are to classify these books in general and how to classify, in particular, the Scriptures and the holy texts in Judaism. With regard to the holy texts in Judaism, should we classify them as simply a [End Page 159] literary device? Or, do they constitute a third category that falls somewhere in between philosophy and rhetoric? If the latter, then what is their status relative to these larger categories?Although Levinas insists on separating his two bodies of work—his philosophical writings and his Jewish writings—the distinction between them becomes increasingly blurred with his frequent introduction of citations from the Hebrew texts into his philosophy and by inflecting his Jewish writings with philosophical interpretations.1 In what follows, I examine the unique and significant role of Scriptural references within Levinas's philosophical work. My claim is that the Scriptural references are in fact rhetorical, but not "simply" rhetorical; they do pedagogical work for Levinas that other literary devices cannot accomplish. They engage his readers such that they are invited to grapple with the Scriptures in a manner potentially unfamiliar to them, and this invitation, in turn, has the pedagogical effect of attuning his readers to his texts and to his ethical project—even, one might say, to the other—and inviting them into an experience of transcendence.In the interview mentioned above, Levinas tells his interlocutor that for the Jews the Scriptures do not exist apart from the interpretations that accompany them. These interpretations are found in the collections of midrashim and the Talmud. One need know only a little bit about Hebrew and the construction of the Hebrew texts in order to see why these interpretations are significant. There are three grammatical concerns with the Hebrew language: first, biblical Hebrew does not contain vowels, though it does employ vowel aspirations; second, it is a language based on root letter combinations, and the meaning of these combinations alters, depending on the vowel aspirations that are inserted. For example, "Kiddish," the Hebrew blessing over wine, is based on a combination of Hebrew letters that are transliterated into English as KDSH. The blessing changes if we insert different vowel aspirations: "Kaddish" is the blessing said for those who have died. Third, biblical Hebrew lacks punctuation. Owing to the absence of vowels and punctuation, interpretation difficulties immediately emerge. The rabbinic model of midrash addresses these problems by offering multiple explanations and interpretations.Levinas, however, is not concerned with this aspect of the written language. Rather, he emphasizes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)