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Katerina Bantinaki
University of Crete
  1. Pictorial Perception as Illusion.Katerina Bantinaki - 2007 - British Journal of Aesthetics 47 (3):268-279.
    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 (...)
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  2.  31
    Depiction.John Hyman & Katerina Bantinaki - 2017 - Stanford Encyclopedia of Philosophy.
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  3. Philosophical Perspectives on Depiction.Catharine Abell & Katerina Bantinaki (eds.) - 2010 - Oxford University Press.
    This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.
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  4. Pictorial Perception as Twofold Experience.Katerina Bantinaki - 2010 - In Catharine Abell Katerina Bantinaki (ed.), Philosophical Perspectives on Depiction. Oxford University Press.
  5. The Paradox of Horror: Fear as a Positive Emotion.Katerina Bantinaki - 2012 - Journal of Aesthetics and Art Criticism 70 (4):2012.
  6.  96
    The Opticality of Pictorial Representation.Katerina Bantinaki - 2008 - Journal of Aesthetics and Art Criticism 66 (2):183–192.
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  7.  25
    Commissioning the Artwork: From Singular Authorship to Collective Creatorship.Katerina Bantinaki - 2016 - Journal of Aesthetic Education 50 (1):16-33.
    A specific type of collaboration has become prevalent in contemporary art: in this type of collaboration—henceforth, commissioning—an artist assigns the production of the work of art to skilled craftsmen or unskilled workers, directing their labor through instructions or blueprints. Commissioning has been accepted by the art world as a legitimate mode of artistic production—legitimate in the sense that it does not undermine the authenticity of the work as a creation of the artist, even if she has not laid a hand (...)
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  8.  59
    Beyond Mimesis and Convention: Representation in Art and Science. [REVIEW]Katerina Bantinaki - 2012 - International Studies in the Philosophy of Science 26 (1):114 - 118.
  9.  56
    Philosophical Perspectives on Art • by Stephen Davies. [REVIEW]Katerina Bantinaki - 2009 - Analysis 69 (1):192-194.
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  10.  65
    Pictorial Representation And Moral Knowledge.Katerina Bantinaki - 2004 - Postgraduate Journal of Aesthetics 1 (2):69-76.
    The idea that pictorial art can have cognitive value, that it can enhance our understanding of the world and of our own selves, has had many advocates in art theory and philosophical aesthetics alike. It has also been argued, however, that the power of pictorial representation to convey or enhance knowledge, in particular knowledge with moral content, is not generalized across the medium.
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  11.  36
    Review of Dominic Mciver Lopes, Sight and Sensibility: Evaluating Pictures[REVIEW]Katerina Bantinaki - 2006 - Notre Dame Philosophical Reviews 2006 (4).
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  12.  35
    Weaving a Nominalist Conception of Nature, Science and Art: Dena Shottenkirk: Nominalism and its Aftermath: The Philosophy of Nelson Goodman. Dordrecht: Springer, 2009, 174pp, $139 HB. [REVIEW]Katerina Bantinaki - 2011 - Metascience 20 (3):565-568.
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  13.  28
    What is a Picture? Depiction, Realism, Abstraction, by Michael Newall. [REVIEW]Katerina Bantinaki - 2014 - Mind 123 (491):944-947.
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