Results for 'Pictures'

999 found
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  1.  60
    Pictures, Propositions, and Predicates.Dominic Gregory - 2020 - American Philosophical Quarterly 57 (2):155-170.
    Do representational pictures have propositional contents? The current paper argues that the characteristic contents of pictures are predicative rather than propositional: pictures characterise things as looking certain ways, and they thereby express properties of visual perspectives. The paper argues that the characteristic predicative contents of pictures are nonetheless able to feature in fully-fledged propositional contents once they are combined with contents of other suitable sorts. Various facts about communicative uses of pictures are then explained. The (...)
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  2.  41
    Aristotle on the Affective Powers of Colours and Pictures.Elena Cagnoli Fiecconi - 2020 - In Katerina Ierodiakonou (ed.), Colour Psychology in the Graeco-Roman World. 1253 Vandœuvres, Switzerland: pp. 43-80.
    Aristotle’s works on natural science show that he was aware of the affective powers of colour. At De an. 421a13, for example, he writes that hard-eyed animals can only discriminate between frightening and non-frightening colours. In the Nicomachean Ethics, furthermore, colours are the source of pleasures and delight. These pleasures, unlike the pleasures of touch and taste, neither corrupt us nor make us wiser. Aristotle’s views on the affective powers of colours raise a question about the limits he seems to (...)
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  3. Understanding Pictures.Dominic Lopes - 1996 - Oxford University Press.
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for (...)
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  4.  57
    Sonic Pictures.Jason Leddington - forthcoming - Journal of Aesthetics and Art Criticism.
    Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; (...)
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  5. Perceiving Pictures.Bence Nanay - 2011 - Phenomenology and the Cognitive Sciences 10 (4):461-480.
    I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of our experience of (...): the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)
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  6. Pictures Have Propositional Content.Alex Grzankowski - 2015 - Review of Philosophy and Psychology 6 (1):151-163.
    Although philosophers of art and aesthetics regularly appeal to a notion of ‘pictorial content’, there is little agreement over its nature. The present paper argues that pictures have propositional contents. This conclusion is reached by considering a style of argument having to do with the phenomenon of negation intended to show that pictures must have some kind of non-propositional content. I first offer reasons for thinking that arguments of that type fail. Second, I show that when properly understood, (...)
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  7. The Philosophy of Motion Pictures.Noël Carroll - 2007 - Wiley-Blackwell.
    _Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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  8. Pictures, Perspective and Possibility.Ben Blumson - 2010 - Philosophical Studies 149 (2):135 - 151.
    This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.
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  9. Mental Pictures, Imagination and Emotions.Maria Magoula Adamos - 2012 - In P. Hanna (ed.), Anthology of Philosophical Studies, vol. 6. ATINER. pp. 83-91.
    Although cognitivism has lost some ground recently in the philosophical circles, it is still the favorite view of many scholars of emotions. Even though I agree with cognitivism's insight that emotions typically involve some type of evaluative intentional state, I shall argue that in some cases, less epistemically committed, non-propositional evaluative states such as mental pictures can do a better job in identifying the emotion and providing its intentional object. Mental pictures have different logical features from propositions: they (...)
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  10.  86
    Hallucinatory Pictures.Roberto Casati - 2010 - Acta Analytica 25 (3):365-368.
    Hallucinatory pictures are yet to be found picture-like artifacts that induce a hallucination of their content that cannot be intuitively explained by a look at the structure of the pictorial vehicle. Different accounts of depiction make different predictions about the possibility that such artifacts be considered as pictures. Some cases are presented that point towards the intuitive acceptability of hallucinatory pictures.
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  11.  85
    Wittgenstein on Context and Philosophical Pictures.Hiroshi Ohtani - 2016 - Synthese 193 (6).
    In this paper, I will investigate Wittgenstein’s idea about the context-sensitivity of utterance. It is the idea that there is a big gap between understanding a sentence in the sense of knowing the idioms and discerning the grammar in it, and what is said by using it in a particular context. Although context-sensitivity in this moderate sense is a familiar idea in Wittgensteinian scholarship, it has mainly been studied as an idea in “Wittgenstein’s philosophy of language.” However, Wittgenstein’s interest in (...)
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  12. Philosophical Pictures and Secondary Qualities.Eugen Fischer - 2009 - Synthese 171 (1):77 - 110.
    The paper presents a novel account of nature and genesis of some philosophical problems, which vindicates a new approach to an arguably central and extensive class of such problems: The paper develops the Wittgensteinian notion of ‘philosophical pictures’ with the help of some notions adapted from metaphor research in cognitive linguistics and from work on unintentional analogical reasoning in cognitive psychology. The paper shows that adherence to such pictures systematically leads to the formulation of unwarranted claims, ill-motivated problems, (...)
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  13.  28
    Wittgenstein on Context and Philosophical Pictures.Hiroshi Ohtani - 2016 - Synthese 193 (6):1795-1816.
    In this paper, I will investigate Wittgenstein’s idea about the context-sensitivity of utterance. It is the idea that there is a big gap between understanding a sentence in the sense of knowing the idioms and discerning the grammar in it, and what is said by using it in a particular context. Although context-sensitivity in this moderate sense is a familiar idea in Wittgensteinian scholarship, it has mainly been studied as an idea in “Wittgenstein’s philosophy of language.” However, Wittgenstein’s interest in (...)
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  14.  64
    Pictures and Beauty.Robert Hopkins - 1997 - Proceedings of the Aristotelian Society 97 (2):177–194.
    What reasons are there to value pictures? I consider one: that pictures enable us to judge, and more than that to savour, the beauty (if any) of the objects they depict. I clarify and defend this claim, tentatively explore what might explain it, consider how far it might generalize beyond beauty to other features of aesthetic interest, and assess its importance for the aesthetics of pictures.
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  15.  41
    Philosophical Pictures From Philosopher Portraits.John Dilworth - manuscript
    Portraits of Wittgenstein and Hume are used as test cases in some preliminary investigations of a new kind of philosophical picture. Such pictures are produced via a variety of visual transformations of the original portraits, with a final selection for display and discussion being based on the few results that seem to have some interesting relevance to the character or philosophical views of the philosopher in question.
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  16.  70
    El Greco's Eyesight: Interpreting Pictures and the Psychology of Vision.Robert Hopkins - 1997 - Philosophical Quarterly 47 (189):441-458.
    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 (...)
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  17.  15
    The Role of Cultural Sign in Cultivating the Dialogical Self: The Case of The Ox‐Herding Pictures.Wan-chi Wong - 2015 - Anthropology of Consciousness 26 (1):28-59.
    Based on a newly conceptualized notion of the dialogical self, achieved by integrating Bakhtin's philosophical anthropology and Karmiloff-Smith's Representational Redescription model into the existing notion proposed by Hermans and colleagues, the present study focuses on examining the role of The Ox-Herding Pictures in cultivating the dialogical self. Methodologically, this study adopted the cultural-historical perspective and microdevelopmental approach of Vygotsky. In-depth case studies consisting of six interrelated phases of interviews and written responses were conducted. The results show that such a (...)
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  18.  18
    Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2011 - Dissertation, Università Degli Studi di Padova
    This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...)
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  19. Seeing-in, Seeing-as, Seeing-With: Looking Through Pictures.Emmanuel Alloa - 2011 - In Elisabeth Nemeth, Richard Heinrich, Wolfram Pichler & Wagner David (eds.), Image and Imaging in Philosophy, Science, and the Arts. Volume I. Proceedings of the 33rd International Wittgenstein Symposium. Ontos: 179-190. pp. 179-190.
    In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...)
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  20.  73
    Sight and Sensibility: Evaluating Pictures.Dominic McIver Lopes - 2005 - Clarendon Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...)
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  21. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.Torben Grodal - 1999 - Clarendon Press.
    Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.
     
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  22.  25
    Influence of Imaged Pictures and Sounds on Detection of Visual and Auditory Signals.Sydney J. Segal & Vincent Fusella - 1970 - Journal of Experimental Psychology 83 (3p1):458.
  23.  21
    Depth of Processing Pictures of Faces and Recognition Memory.Gordon H. Bower & Martin B. Karlin - 1974 - Journal of Experimental Psychology 103 (4):751.
  24.  41
    Pictures and Pedagogy: The Role of Diagrams in Feynman's Early Lectures.Ari Gross - 2012 - Studies in History and Philosophy of Science Part B: Studies in History and Philosophy of Modern Physics 43 (3):184-194.
    This paper aims to give a substantive account of how Feynman used diagrams in the first lectures in which he explained his new approach to quantum electrodynamics. By critically examining unpublished lecture notes, Feynman’s use and interpretation of both "Feynman diagrams" and other visual representations will be illuminated. This paper discusses how the morphology of Feynman’s early diagrams were determined by both highly contextual issues, which molded his images to local needs and particular physical characterizations, and an overarching common diagrammatic (...)
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  25. Pictures, Privacy, Augustine, and the Mind.Derek A. McDougall - 2008 - Journal of Philosophical Research 33:33-72.
    This paper weaves together a number of separate strands each relating to an aspect of Wittgenstein’s Philosophical Investigations. The first strand introduces his radical and incoherent idea of a private object. Wittgenstein in § 258 and related passages is not investigating a perfectly ordinary notion of first person privacy; but his critics have treated his question, whether a private language is possible, solely in terms of their quite separate question of how our ordinary sensation terms can be understood, in a (...)
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  26. Narrative Pictures.Bence Nanay - 2009 - Journal of Aesthetics and Art Criticism 67 (1):119 - 129.
    This paper is about visual narratives. Most of the examples used in the philosophical literature on narratives are literary ones. But a general account of narrative needs to be able to cover both pictorial and literary cases. In the first part of the paper, I will argue that none of the most influential accounts of narrative are capable of this. In the second part, I outline an account of visual narratives, or, rather, of our engagement with visual narratives.
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  27.  76
    Twisted Pictures: Morality, Nihilism and Symbolic Suicide in the Saw Series.Steve Jones - 2013 - In James Aston & John Walliss (eds.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. McFarland. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  28.  40
    Role of Details in the Long-Term Recognition of Pictures and Verbal Descriptions.Thomas O. Nelson, Jacqueline Metzler & David A. Reed - 1974 - Journal of Experimental Psychology 102 (1):184.
  29.  17
    Pictures, Titles, Depictive Content.Kendall L. Walton - 2011 - In Publications of the Austrian Ludwig Wittgenstein Society - N.S. 17. De Gruyter. pp. 395-408.
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  30.  3
    Affect and Motion Pictures.Jesse Prinz - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 893-921.
    Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges of our (...)
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  31.  16
    Recall and Recognition of Pictures by Children as a Function of Organization and Distractor Similarity.Jean M. Mandler & Nancy L. Stein - 1974 - Journal of Experimental Psychology 102 (4):657.
  32.  31
    On Pictures and the Words That Fail Them.James Elkins - 1999 - Journal of Aesthetics and Art Criticism 57 (4):471-473.
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  33. Pictures: Their Power in Practice.Dominic McIver Lopes - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 36-51.
    What are pictures good for? “Nothing” recurs as the apparently irrepress- ible reply of a motley collection iconophobes from Plato to the mediaeval iconoclasts, to parents concerned about comic books, to postmoderns in a lather over “scopic regimes”. In the aftermath of Nelson Goodman’s Languages of Art (1976), philosophers doubled down on theories of depiction and pictorial experience, but they have not rushed to work on the value of pictures. Those few who have written about pictorial value have (...)
     
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  34.  9
    Visual and Verbal Coding of Laterally Presented Pictures.Roberta L. Klatzky - 1972 - Journal of Experimental Psychology 96 (2):439.
  35.  30
    Judgment of Recency for Pictures and Words.Gary L. Lassen, Terry C. Daniel & Neil R. Bartlett - 1974 - Journal of Experimental Psychology 102 (5):795.
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  36.  19
    Functional Independence of Pictures and Their Verbal Memory Codes.Douglas L. Nelson & David H. Brooks - 1973 - Journal of Experimental Psychology 98 (1):44.
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  37.  24
    The Frois-Wittmann Pictures of Facial Expression.W. S. Hulin & D. Katz - 1935 - Journal of Experimental Psychology 18 (4):482.
  38.  17
    Sequential Memory for Pictures and the Role of the Verbal System.Douglas L. Nelson, David H. Brooks & Richard C. Borden - 1973 - Journal of Experimental Psychology 101 (2):242.
  39.  13
    Words and Pictures as Distinct Encoding Categories in Short-Term Memory.J. Elisabeth Wells - 1973 - Journal of Experimental Psychology 97 (3):394-396.
  40.  21
    The Effects of Attitudes on Descriptions of Pictures.C. Leuba & C. Lucas - 1945 - Journal of Experimental Psychology 35 (6):517.
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  41.  30
    Prohibited Pictures: Political Education and Platonic Elitism. [REVIEW]Anthony Holiday - 1998 - Studies in Philosophy and Education 17 (4):243-250.
    This paper attempts to bring out the contemporary significance for the philosophy of education of Plato's strictures in the Republic against mimetic art forms. The argument follows a route which leads through an examination of Wittgenstein's picture theory of the proposition to the conclusion that this theory is itself a kind of picture which exercises over the intellect the selfsame erotic magnetism which Plato feared would corrupt the rulers of his ideal state.
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  42.  16
    The Correlation Between the Sex of Observers and the Sex of Pictures Recognized.Yo Sugisaki & Warner Brown - 1916 - Journal of Experimental Psychology 1 (4):351.
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  43.  5
    Apparent Recency of Unrelated Pictures and Nouns Presented in the Same Sequence.James L. Fozard - 1970 - Journal of Experimental Psychology 86 (2):137.
  44.  14
    Saving Mr. Banks: Directed by John Lee Hancock, Written by Kelly Marcel and Sue Smith, 2013, Walt Disney Pictures, Ruby Films, and Essential Media & Entertainment.Katrina A. Bramstedt - 2014 - Journal of Bioethical Inquiry 11 (2):261-262.
    Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing the (...)
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  45.  9
    Absolute Judgments of Recency for Pictures and Nouns After Various Numbers of Intervening Items.James L. Fozard & Jane R. Weinert - 1972 - Journal of Experimental Psychology 95 (2):472.
  46.  6
    Effects of Priority Instructions on Processing Hypercapacity Sequential Inputs of Pictures and Words.Lorraine F. Kubicek & Matthew H. Erdelyi - 1974 - Journal of Experimental Psychology 103 (4):729.
  47.  4
    Effect of Presentation Time on the Judged Recency of Pictures.William G. Frey & James L. Fozard - 1970 - Journal of Experimental Psychology 85 (1):105.
  48.  3
    Experimental Studies of the Judgmental Theory of Feeling. VI. Concrete Versus Abstract Sets in the Preference Judgments of Pictures[REVIEW]H. N. Peters - 1943 - Journal of Experimental Psychology 33 (6):487.
  49. Pictorial Representation and Abstract Pictures.Elisa Caldarola - 2010 - Proceedings of the European Society for Aesthetics 2:46-61.
     
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  50. “Ethical Uses of Pictures. A Wittgensteinian Investigation”.Anne-Marie Soendergaard Christensen - 2016 - In Picturing Life. Wittgenstein’s Visual Ethics, Ronja Tripp and Karsten Schoellner (eds.). Würzburg: Königshausen & Neumann.
     
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