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)

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)

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)

When I see a tree through my window, that particular worldly tree is said to be ‘in’, ‘on’, or ‘before’ my mind. My ordinary visual link to it is ‘intentional’. How similar to this link are the links between me and particular worldly trees when I see them in photographs, or in paintings? Are they, in some important sense, links of the same kind? Or are they links of importantly different kinds? Or, as a third possibility, are they at once (...) links of the same important kind and also links of importantly different sub-kinds within that kind? This paper takes up these taxonomical questions. After fleshing out (a bit) the characterisation of these different subject-object links, I explain and expand upon an approach to answering the taxonomical questions originally set out by Kendall Walton. I then follow this approach a certain distance, connecting it with the question of how to mark the boundary between perception and cognition. My investigations support the conclusion that the three types of links just described are not importantly different in kind. (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)

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)

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)

Person‐centred care, with its central focus on the patient in partnership with healthcare practitioners, is considered to be the contemporary gold standard of care. This type of care implies effective communication from and by both the patient and the healthcare practitioner. This is often problematic in the case of the paediatric population, because of the many communicative challenges that may arise due to the child's developmental level, illness and distress, linguistic competency and disabilities. The principle of universal design put forth (...) in conventions and legislation means that the design of products and services should be usable by all people, to the greatest extent possible. Augmentative and alternative communication encompasses strategies, for example pictures and apps, that are typically used with people with communication disability. In this position paper, we argue for the universal use of augmentative and alternative communication to support person‐centred communication and care for children, regardless of age or potential disability. Clinical examples are shared from three different paediatric care settings where pictorial supports were applied universally. Interviews were conducted with children and adolescents (with and without disabilities), parents and healthcare practitioners, and the principles of universal design were used as a framework to demonstrate how person‐centred communication is supported in paediatric care. (shrink)

This article explores the fundamental Christological principles discussed by Byzantine iconophile writers of the eight and ninth centuries, John of Damascus (675-749), Theodore the Studite (759-826) and Patriarch Nikephoros I of Constantinople (758-828). Within the larger context of theological concerns, the iconophile focus their attention on two key points: (a) the notion of the hypostatic union of human and divine natures in Christ; and (b) the properties of circumscription and uncircumscribability. These Christological aspects play critical part in supporting the main (...) objective of iconophiles, the defense of Chalcedonian formulation, of which the theoretical justification of Christ’s pictorial representation is simply one part, albeit a central one. In support to their theological cause, the iconophiles also make recourse to the distinction between nature and hypostasis and devote an important part of their exposition for the holy images on the dogmatic significance of the Incarnation. (shrink)

We offer additional points that support a distributed semantic memory: the activation of representations that are modality-specific; patients with inferotemporal lesions fail to activate visual object representations in semantic tasks, although normal subjects do; direct activation of action systems from pictorial information, but not from words; patients who demonstrate superiority with abstract words fail to access perceptual representations.

Grush makes an important contribution to a promising way of viewing mental representation: as a component activity in sensorimotor processes. Grush shows that there need be no entities in our heads that would count as representations, but that, nevertheless, the process of representation can be defined so as to include both natural and artificial (e.g., linguistic or pictorial) representing.

Learning from a text–picture multimedia document is particularly effective if learners can link information within the text and across the verbal and the pictorial representations. The ability to create a mental model successfully and include those implicit links is related to the ability to generate inferences. Text processing research has found that text cohesion facilitates the generation of inferences, and thus text comprehension for learners with poor prior knowledge or reading abilities, but is detrimental for learners with good prior (...) knowledge or reading abilities. Moreover, multimedia research has found a positive effect from adding visual representations to text information, particularly when implementing signaling, which consists of verbal or visual cues designed to guide attention to the pictorial representation of relevant information. We expected that, as with text-only documents, struggling readers would benefit from high text cohesion and that signaling would foster inference generation as well. Further, we hypothesized that better learning outcomes would be observed when text cohesion was low and signaling was present. Our first experimental study investigated the effect of those two factors on three levels of comprehension. Participants were adolescents in prevocational schools, where some of the students are struggling readers. The results showed a trend in favor of high cohesion, but with no significant effect, a significant positive effect of cross-representational signaling on comprehension from local inferences, and no interaction effect. A second experiment focused on signaling only and attention toward the picture, with collection of eye-tracking data in addition to measures of offline comprehension. As this study was conducted with university students, who are expected to have higher reading abilities and thus are less likely to benefit from high cohesion, the material was presented in its low cohesive version. The results showed no effect of conditions on comprehension performances but confirmed differences in processing behaviors. Participants allocated more attention to the pictorial representation in the CRS condition than in the no signaling condition. (shrink)

In recent years there has been increasing interest in scientific understanding as an epistemic success term that is distinct from scientific knowledge (see, for example, De Regt, Leonelli and Eigner 2009). Although this literature is diverse, three dominant strands can be found that have rather deeper roots in the philosophy of science: understanding as unification (Friedman 1974; Kitcher 1981); understanding through mechanistic thinking as in certain types of causal modelling (Salmon 1998; Woodward 2003); and a kind of contextualist pluralist approach (...) to understanding (De Regt and Dieks 2005; De Regt 2009; 2014), which is in some ways similar to the account offered by Nelson Goodman (1968, 1978) and Catherine Elgin (1997, 2004). Proponents of these views often see them as complimentary or at least not contradictory. However, they have not yet to been brought neatly together in a single account. This is what I propose to do. At the heart of my approach is the thought that we should treat the characteristic content of understanding as pictorial, in contrast to the characteristic content of knowledge, which is propositional. By virtue of the distinctive ways in which they present their content, epistemically efficacious pictures exemplify, unify, show mechanical (and other) causal relations, allow for multiple readings and facilitate the contextualisation of their content, while still having determinate content. In other words, features of pictorial content facilitate cognitive and evaluative procedures that are characteristic of understanding and have already been identified as such in the literature. That understanding should be treated as something like “getting the picture” is supported, albeit weakly, by multiple remarks, more or less well-developed, linking understanding to picturing that can also be found in the literature on scientific understanding, as we shall see. (shrink)

Suppose we take a picture containing a full image of a duck and slice it right through, leaving some of the duck image on one slice and some of it on the other. How many duck images will we be left with? Received theories of pictorial representation presuppose that a surface cannot come to contain new images just by changing its physical relations with other surfaces, such as physical continuity. But as it turns out, this is in tension with (...) received theories’ approach to incomplete images. I address three views with respect to the circumstances in which incomplete images of X represent X. 1. A liberal, non-restrictive view: ‘Iff they meet relevant requirements posed by received theory of pictorial representation.’ 2. Moderate restrictions of this view and 3. A fully restrictive view. After investigating challenges for the liberal view, I end up supporting it. The main challenges rest on the fact that only the fully restrictive view can plausibly accommodate some principles that seem inherent to our theory of representation. For instance: only this view accommodates received theories’ presupposition that the representational properties of a surface depend on its configurational properties such that new images may appear on a surface only if its configurational properties have changed. Since the liberal view is overall more plausible than the restrictive view, I reject this presupposition and bear the consequences. (shrink)

Four experiments were conducted to evaluate explanations of picture superiority effects previously found for several tasks. In a process dissociation procedure with word stem completion, picture fragment completion, and category production tasks, conscious and automatic memory processes were compared for studied pictures and words with an independent retrieval model and a generate-source model. The predictions of a transfer appropriate processing account of picture superiority were tested and validated in “process pure” latent measures of conscious and unconscious, or automatic and source, (...) memory processes. Results from both model fits verified that pictures had a conceptual processing advantage over words for all tasks. The effects of perceptual compatibility depended on task type, with pictorial tasks favoring pictures and linguistic tasks favoring words. Results show support for an explanation of the picture superiority effect that involves an interaction of encoding and retrieval processes. (shrink)

Seeing, Doing, and Knowing is an original and comprehensive philosophical treatment of sense perception as it is currently investigated by cognitive neuroscientists. Its central theme is the task-oriented specialization of sensory systems across the biological domain. Sensory systems are automatic sorting machines; they engage in a process of classification. Human vision sorts and orders external objects in terms of a specialized, proprietary scheme of categories - colours, shapes, speeds and directions of movement, etc. This 'Sensory Classification Thesis' implies that sensation (...) is not a naturally caused image from which an organism must infer the state of the world beyond; it is more like an internal communication, a signal concerning the state of the world issued by a sensory system, in accordance with internal conventions, for the use of an organism's other systems. This is why sensory states are both easily understood and persuasive.Sensory classification schemes are purpose-built to serve the knowledge-gathering and pragmatic needs of particular types of organisms. They are specialized: a bee or a bird does not see exactly what a human does. The Sensory Classification Thesis helps clarify this specialization in perceptual content and supports a new form of realism about the deliverances of sensation: 'Pluralistic Realism' is based on the idea that sensory systems coevolve with an organism's other systems; they are not simply moulded to the external world. The last part of the book deals with reference in vision. Cognitive scientists now believe that vision guides the limbs by means of a subsystem that links up with the objects of physical manipulation in ways that bypass sensory categories. In a novel extension of this theory, Matthen argues that 'motion-guiding vision' is integrated with sensory classification in conscious vision. This accounts for the quasi-demonstrative form of visual states: 'This particular object is red', and so on. He uses this idea to cast new light on the nature of perceptual objects, pictorial representation, and the visual representation of space. (shrink)

Many corporate logos use pictorial metaphors to influence consumer attitudes. Priming concrete concepts—by means of logo exposure or other procedures—changes attitudes toward dissimilar abstract targets in metaphor-consistent ways. It is assumed, however, that observers apply a logo’s metaphor externally to interpret the company and its service. This research examined the possibility that observers may instead apply that metaphor internally to interpret their current condition and hence their need for the company’s service. We hypothesized that the same logo can have (...) divergent effects on company liking depending on the direction of metaphor application. To test this possibility, we built on evidence that people apply available metaphors especially when they feel unsure about the target. We predicted that observers would apply a logo’s metaphor externally when unsure about the company, but internally when unsure about themselves. Three experiments provide convergent support for hypotheses. We discuss impli.. (shrink)

Is mental imagery pictorial? In Pylyshyn's view no empirical data provides convincing support to the “pictorial” hypothesis of mental imagery. Phenomenology, Pylyshyn says, is deeply deceiving and offers no explanation of why and how mental imagery occurs. We suggest that Pylyshyn mistakes phenomenology for what it never pretended to be. Phenomenological evidence, if properly considered, shows that mental imagery may indeed be pictorial, though not in the way that mimics visual perception. Moreover, Pylyshyn claims that the (...) “pictorial hypothesis” is flawed because the interpretation of “picture-like” objects in mental imagery takes a homunculus. However, the same point can be objected to Pylyshyn's own conclusion: if imagistic reasoning involves the same mechanisms and the same forms of representation as those that are involved in general reasoning, if they operate on symbol-based representations of the kind recommended by Pylyshyn (1984) and Fodor (1975), don't we need a phenomenological homunculus to tell an imagined bear from the real one? (shrink)

Scientific Philosophy: Origins and Development is the first Yearbook of the Vienna Circle Institute, which was founded in October 1991. The book contains original contributions to an international symposium which was the first public event to be organised by the Institute: `Vienna--Berlin--Prague: The Rise of Scientific Philosophy: The Centenaries of Rudolf Carnap, Hans Reichenbach and Edgar Zilsel.' The first section of the book - `Scientific Philosophy - Origins and Developments' reveals the extent of scientific communication in the inter-War years between (...) these great metropolitan centres, as well as presenting systematic investigations into the relevance of the heritage of the Vienna Circle to contemporary research and philosophy. This section offers a new paradigm for scientific philosophy, one which contrasts with the historiographical received view of logical empiricism. Support for this re-evaluation is offered in the second section, which contains, for the first time in English translation, Gustav Bergmann's recollections of the Vienna Circle, and an historical study of political economist Wilhelm Neurath, Otto Neurath's father. The third section gives a report on current computer-based research which documents the relevance of Otto Neurath's `Vienna method of pictorial statistics', or `Isotypes'. A review section describes new publications on Neurath and the Vienna Circle, as well anthologies relevant to Viennese philosophy and its history, setting them in their wider cultural and political perspective. Finally, a description is given of the Vienna Circle Institute and its activities since its foundation, as well as of its plans for the future. (shrink)

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, such (...) arguments can in fact be turned on their heads and shown to support the propositionalist position. (shrink)

Empirical discussions of mental representation appeal to a wide variety of representational kinds. Some of these kinds, such as the sentential representations underlying language use and the pictorial representations of visual imagery, are thoroughly familiar to philosophers. Others have received almost no philosophical attention at all. Included in this latter category are analogue magnitude representations, which enable a wide range of organisms to primitively represent spatial, temporal, numerical, and related magnitudes. This article aims to introduce analogue magnitude representations to (...) a philosophical audience by rehearsing empirical evidence for their existence and analysing their format, their content, and the computations they support. 1 Background1.1 Evidence of analogue magnitude representations1.2 Weber’s law1.3 Scepticism about analogue magnitude representations2 Format2.1 Carey’s analogy2.2 Neural realization2.3 Analogue representation2.4 Analogue magnitude representation components3 Content3.1 Do analogue magnitude representations have representational content?3.2 What do analogue magnitude representations represent?3.3 What content types do analogue magnitude representations have?4 Computations4.1 Arithmetic computation4.2 Practical deliberation5 Conclusion. (shrink)

It is generally accepted that there is something special about reasoning by using mental images. The question of how it is special, however, has never been satisfactorily spelled out, despite more than thirty years of research in the post-behaviorist tradition. This article considers some of the general motivation for the assumption that entertaining mental images involves inspecting a picture-like object. It sets out a distinction between phenomena attributable to the nature of mind to what is called the cognitive architecture, and (...) ones that are attributable to tacit knowledge used to simulate what would happen in a visual situation. With this distinction in mind, the paper then considers in detail the widely held assumption that in some important sense images are spatially displayed or are depictive, and that examining images uses the same mechanisms that are deployed in visual perception. I argue that the assumption of the spatial or depictive nature of images is only explanatory if taken literally, as a claim about how images are physically instantiated in the brain, and that the literal view fails for a number of empirical reasons – for example, because of the cognitive penetrability of the phenomena cited in its favor. Similarly, while it is arguably the case that imagery and vision involve some of the same mechanisms, this tells us very little about the nature of mental imagery and does not support claims about the pictorial nature of mental images. Finally, I consider whether recent neuroscience evidence clarifies the debate over the nature of mental images. I claim that when such questions as whether images are depictive or spatial are formulated more clearly, the evidence does not provide support for the picture-theory over a symbol-structure theory of mental imagery. Even if all the empirical claims were true, they do not warrant the conclusion that many people have drawn from them: that mental images are depictive or are displayed in some (possibly cortical) space. Such a conclusion is incompatible with what is known about how images function in thought. We are then left with the provisional counterintuitive conclusion that the available evidence does not support rejection of what I call the “null hypothesis”; namely, that reasoning with mental images involves the same form of representation and the same processes as that of reasoning in general, except that the content or subject matter of thoughts experienced as images includes information about how things would look. (shrink)

Traditionally, philosophers have appealed to the phenomenological similarity between visual experience and visual imagery to support the hypothesis that there is significant overlap between the perceptual and imaginative domains. The current evidence, however, is inconclusive: while evidence from transcranial brain stimulation seems to support this conclusion, neurophysiological evidence from brain lesion studies (e.g., from patients with brain lesions resulting in a loss of mental imagery but not a corresponding loss of perception and vice versa) indicates that there are (...) functional and anatomical dissociations between mental imagery and perception. Assuming that the mental imagery and perception do not overlap, at least, to the extent traditionally assumed, then the question arises as to what exactly mental imagery is and whether it parallels perception by proceeding via several functionally distinct mechanisms. In this review, we argue that even though there may not be a shared mechanism underlying vision for perception and conscious imagery, there is an overlap between the mechanisms underlying vision for action and unconscious visual imagery. On the basis of these findings, we propose a modification of Kosslyn’s model of imagery that accommodates unconscious imagination and explore possible explanations of the quasi-pictorial phenomenology of conscious visual imagery in light of the fact that its underlying neural substrates and mechanisms typically are distinct from those of visual experience. (shrink)

Abstract This chapter addresses the meta-ethical and psychological implications of Murdoch’s epistemic internalism—her claim that moral responsiveness is a condition of reliable and accurate moral evaluations. Part 1 examines Murdoch’s view that moral judgments feature a quasi-experiential phenomenology analogous to that of certain perceptual ones. Focussing on the phenomenology of our perception-based judgments of certain aspectual properties (e.g., pictorial and musical ones) it argues that such judgments support both Murdoch’s analogy and the internalism she takes it to imply. (...) In Part 2 this chapter considers Murdoch’s internalism as a psychological thesis, assessing it in view of several empirical studies of psychopathic subjects. It argues that the psychopath’s distinctive complex of cognitive and motivational deficits supports Murdoch’s conviction that moral judgment and moral motivation are interdependent. Just as Murdoch believed, many of our ordinary, non-pathological moral beliefs seem to be the natural progeny of our responsiveness to other persons, and so inherit the intrinsic power that others have to move us. (shrink)

This article looks at the positioning of the aesthetic in microscopy to understand how it can be both side-lined and deployed. It considers the boundary between the pictorial and the notational in current microscopy practice and speculates on a space of mutual relation. Microscopy’s dual threads of capture for data analysis and capture for publication reveal complicated relationships and conflicted stances, reflective of a broader iconoclastic tendency in microscopy where the image as enacted perception is erased while the notation (...) generated and carried by these images is preserved. This article seeks to suggest a space in which phenomena are situated, materially embedded and emergent through imaging practices. I ground my position on experimental imaging of bacterial iridescence to consider the entanglement of microscopy’s living image with its processes of making-seen. Microscopy is instrumental in supporting descriptive-explanatory claims on biological life yet is also implicated in the generation of novel, hybrid phenomena and sensibilities. Exploring both tendencies exposes a microscopy of permeable membranes and suggests alternative orientations through microscopy practice and its images. (shrink)

According to Uriah Kriegel’s self-representational theory of consciousness, mental state M is conscious just in case it is a complex with suitably integrated proper parts, M 1 and M 2, such that M 1 is a higher-order representation of lower-order representation M 2. Kriegel claims that M thereby “indirectly” represents itself, and he attempts to motivate this claim by appealing to what he regards as intuitive cases of indirect perceptual and pictorial representation. For example, Kriegel claims that it’s natural (...) to say that in directly perceiving the front surface of an apple one thereby perceives the apple itself. Cases such as this are supposed to provide intuitive support for the principle that if X represents Y, and Y is highly integrated into complex object Z, then X indirectly represents Z. In this paper I provide counterexamples to Kriegel’s principle of indirect representation, before going on to argue that we can explain what is going on in those cases in which the subject seems to represent a complex whole by representing one its parts without positing indirect representations anyway. I then argue that my alternative approach is superior to Kriegel’s in a number of ways, thereby rendering his theory of consciousness implausible. (shrink)

Luminance and color are strong and self-sufficient cues to pictorial depth in visual scenes and images. The present study investigates the conditions Under which luminance or color either strengthens or overrides geometric depth cues. We investigated how luminance contrasts associated with color contrast interact with relative height in the visual field, partial occlusion, and interposition in determining the probability that a given figure is perceived as ‘‘nearer’’ than another. Latencies of ‘‘near’’ responses were analyzed to test for effects of (...) attentional selection. Figures in a pair were supported by luminance contrast or isoluminant color contrast and combined with one of the three geometric cues. The results of Experiment 1 show that luminance contrasts associated with hue, when it does not interact with other hues, produces the same effects as achromatic luminance contrasts: The probability of‘‘near’’ increases with luminance contrast while the latencies for ‘‘near’’ responses decrease. Partial occlusion is found to be a strong enough pictorial cue to support a weaker red luminance contrast. Interposition cues lose out against cues of spatial position and partial occlusion. The results of Experiment 2, with isoluminant displays of varying color contrast, reveal that red color contrast on a light background supported by any of the three geometric cues wins over green or white supported by any of the three geometric cues. On a dark background, red color contrast supported by the interposition cue loses out against green or white color contrast supported by partial occlusion. These findings reveal that color is not an independent depth cue, but is strongly influenced by luminance contrast and stimulus geometry. Systematically shorter response latencies for stronger ‘‘near’’ percepts demonstrate that selective visual attention reliably detects the most likely depth cue combination in a given configuration. (shrink)

The effect of state anxiety on analogical reasoning was investigated by examining qualitative differences in mapping performance between anxious and non-anxious individuals reasoning about pictorial analogies. The working-memory restriction theory of anxiety, coupled with theories of analogy that link complexity of mapping with working-memory capacity, predicts that high anxiety will impair the ability to find correspondences based on relations between multiple objects relative to correspondences based on overlap of attributes between individual objects. Anxiety was induced in one condition by (...) a stressful speeded subtraction task administered prior to the analogy task. Anxious participants produced fewer relational responses and more attribute responses than did non-anxious participants, both in the absence of explicit instructions to find relational mappings (Experiment 1) and after receiving such instructions (Experiment 2). The findings support the postulated links among anxiety, working memory, and the ability to perform complex analogical mapping. (shrink)

Neuroscience hasn’t shown how quite similar sensory circuits encode quite different colors and other qualia, nor how the unified pictorial form of images is encoded, nor how these codes yield conscious images. Neuroscience’s fixation here on cortical codes may be the culprit. Treating conscious images partly as retinal substances may avoid these problems. The evidence for conscious retinal images is that (a) the cortical codes for images are quite problematic, (b) injecting retinas with certain genes turns dichromats into trichromats (...) without cortical help, (c) retinas can discern colors by themselves without cortex, (d) retinal distortions appear in images but cortical distortions don’t, (e) retinal detectors support finely detailed colors, but V4 detectors don’t, due to their big receptive fields, (f) retinal activity has pictorial form, but viable cortical codes for pictorial form don’t exist. So, the colors and unified pictorial form of images arguably arise mainly across arrays of retinal detectors—not from abstract cortical codes. Images may be hidden in retinal activity beyond what EEGs show of it (cf. Strawson’s monism). Also, cortex refines these retinal images but cortical impairment (anesthesia, lesions, etc.) blocks awareness of them, for they’re no longer accessible to the mind’s subject-centered consciousness, resident in cortex. This proposal is largely testable and based in recent evidence. It avoids neuroscience’s elusive, problematic coded images and enigmatic explanations of how they become conscious. (shrink)

Data from neuropsychology do not support the idea that the primary visual cortex necessarily displays internal visual images. However, the choice of formats used in human cognition is not restricted to depictive or descriptive representations. Nestled between pictures and propositions, primitive spatial schemas with simple analog features extracted from pictorial scenes may play a subtle but wide role in cognition.

This book shows that art involves an aesthetics of self-becoming, wherein we do not simply consume artistic meaning, but become empowered--by adapting ourselves to what creation in the different art forms makes possible. Paul Crowther argues that the great political task in aesthetics is no longer the creation of political art as such, but rather the winning back of art and aesthetics as central societal concerns. This involves the overcoming of neo-liberal treatments of art as mere commodity and misguided attitudes (...) that dismiss it as the product of dead white European males. The book begins with a theory of self-consciousness which reveals the necessary role played by the aesthetic in personal identity. It then emphasises how art forms empower through processes of making and aesthetic effects that are unique to them individually. To show this, he considers the ontology of pictorial art, sculpture, installation and assemblage works, architecture, literature, cinema, and music. His arguments concerning these are supported, throughout, by in-depth discussions of specific artworks. The book's effect, overall is to reorientate aesthetics by showing how art empowers through its revelation of new possibilities of experience. The Aesthetics of Self-Becoming will appeal to philosophers of art and aesthetics, as well as scholars in art history, literary studies, film studies, and music theory who are interested in the book's central concerns. (shrink)

In order to analyse pictures shared in WhatsApp groups of Jair Bolsonaro supporters, I will explore the idea that the act of sending someone a picture through social media performs a speech act. Thus we can separate the utterance act, the locutionary act, the illocutionary act, and the perlocutionary act. The pictures analysed were collected from January to September 2019, using the WhatsApp Monitor. My main philosophical argument will be in section 3, in which I develop the idea of (...) class='Hi'>pictorial speech acts and its conceptual bases. To understand the communicational role of pictures it is necessary to supplement picture theories with a communicative act theory based on speech act. The development of the general outline of visual pragmatics is the main philosophical contribution envisaged in this paper. My last step it to argue that there are at least three forms of naivety that render the receivers prone to the uptake of the illocutionary act performed: aesthetic naivety, communicational naivety, and epistemic naivety. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and (...) philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

Available from UMI in association with The British Library. Requires signed TDF. ;Metaphor and analogy are the scaffolding of science. Kepler's theory of the retinal picture could not have been built without the analogy between an eye and a camera obscura, and, two hundred and fifty years later, Charles Darwin devoted most of the first chapter of The origin of Species to discussion of pigeon fanciers. Unlike Darwin, Kepler was bewitched by his own imagination and was led to wonder "how (...) this image or picture is joined to the visual faculty, which is situated in the retina and in the nerve, and whether it is placed within the hollows of the brain, before the soul or tribunal of the visual faculty, or whether the visual faculty, like a magistrate sent by the soul from the administrative chamber of the brain, descends into the optic nerve or retina to meet this image, as though to a lower court" . ;The theory of the retinal image answered the crucial question of medieval optics: the scaffolding had served its purpose and should have been dismantled. Instead, Kepler mistook it for a part of the building: what he construed as a scientific problem was nothing more than the extension of a metaphor. As a result, and in spite of his remarkable achievement, he left the theory of vision in a state of confusion. ;I intend to show that Descartes revolutionized visual theory by manipulating the pair of analogies which had dominated visual theory since its inception and by advancing a theory of depiction which has since become orthodox. Advocates of the first analogy suggest that seeing the world is rather like seeing pictures of it; Kepler's analogy between the eye and a camera obscura, which was anticipated by Leonardo de Vinci, was a variation on this theme. Advocates of the second analogy compare vision to the use of a walking-stick: the air transmits an impression of a visible object to the eye rather as a walking-stick enables us to find our way around in the dark by transmitting pressures to the hand. As I shall show, Descartes' rejection of the pictorial analogy in favour of the walking-stick analogy and his theory of depiction were designed to salvage Kepler's theory of the retinal picture, a pearl of great price, from its murky setting. ;Descartes aimed to show that whilst Kepler's theory of the retinal picture correctly described the optics of the eye, the pictorial analogy was misleading and stood in the way of a mechanistic theory of perception. ;Current visual theory is Cartesian in some respects and un-Cartesian in others. The walking-stick analogy is no longer used, but the explanatory pattern that it served to illustrate is adhered to closely where the perception of brightness and colour are concerned, and the causal theory of depiction commands widespread support. At the same time, the pictorial analogy has not lost its appeal. (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)

In lieu of an abstract, here is a brief excerpt of the content:Reading And Depth Of FieldSven BirkertsIhave the idea that much of what we think of as literary reading involves the animation of an interior space—a kind of supporting world for the narrative elements—and that the logistics of this phenomenon are in some way comparable to the way we create depth of field when we look at a naturalistic painting. The painter creates the effect through very specific techniques, which (...) include placing the vanishing point and setting up a complex balance between forms and colors. The writer, apart from the deployment of actual descriptive elements—pictorial indicators that make a scene in the reader’s mind—manages his evocation more subtly, perhaps even less consciously. This supporting world exists in the imagination of the writer, and it comes to exist, however differently, in the mind of the reader. What interests me is the transfer, which takes place right from the threshold, even where the language is not deliberately descriptive or evocative.In part, I would argue, the process depends not on a meeting of minds or sensibilities, but on a meeting of the wills. At the root of the writer’s endeavor is the will to convey an entire interior world to the reader. So, too, the true impulse behind reading is the reader’s will to bring another world inside his own. Without this wanting-to-give and wanting-to-receive, both writing and reading acts are inert. Of course, none of this can be measured, and unless one falls into a Heideggerian idiom the process is very difficult to discuss. Still, we need to be aware that the transfer happens—ideally—between two charged poles.Between the writer and the reader there are only the words on the page. What is striking, if seldom remarked, is the process of the transfer. [End Page 122] What essentially happens is that the black marks are converted not only into a sensible narrative—if we are reading a novel, say—but they also elicit in the reader the surrounding impression of a world that is strong enough to sustain the narrative line—that gives it credibility.This transfer, for the sighted reader, takes place via the collusion of eye and ear. The sight of the word creates the hearing memory; though we are moving our eyes we are, in a sense, listening, and it is fundamentally as listeners that we furnish that interior space. Indeed, could it be that in reading we recapitulate origins, returning to the orality that predated literacy? If this were so, then one could perhaps locate in the reading act a kind of fundamental friction: between the imperatives of literate prose and the vestiges of oral conditioning that control our primary sense-making operations.But remember, when we read with the eye we are not actually hearing—the tympanum does not vibrate—we are listening in memory. Which means that it’s not the physical ear, but the metaphysical mind that is engaged. And maybe this holds a clue about the mysterious sensations reading can sometimes unleash: the fact that body (the ear) and mind are joined by the strand of memory for the duration of the act.We hear in memory—more and less sharply. The more sharply we hear, the more intense will likely be our reading experience. Or, at least, the more vivid. This sharpness of hearing has to do, in part, with the focus and will that we are able to direct at the words on the page; and in part with the author’s ability to reward our attentiveness. The Coleridgean model of a “willing suspension of disbelief” is too simplistic and too passive. Indeed, it figures the primary act of will in reading as a will to be passive, to neutralize oneself before the expression of the author.I see the receptive will as far more active and creative. For one does not merely absorb—hear—the conscious and unconscious components of the author’s work; one instantly sets about bringing to life that interior scape. Reading performs an energetic hearing—a listening. This listening begins with the very first words, and the greatest expenditure of conscious and... (shrink)

The dissertation sketches a solution to the problem of pictorial representation. By appealing to the visual system as an information processing system, we understand how it is that certain sorts of pictures are seen as representing their subjects. ;The first chapter introduces the problem and discusses existing philosophical treatment of pictorial representation. Conventionalist arguments against the possibility of a naturalist account are refuted, thus clearing the way for a naturalist, realist, "resemblance" view of pictorial representation. ;The second (...) chapter discusses the notion of the modularity of mind. Aspects of perceptual holism are criticized. I support the modularist claim that one can make a useful distinction between observation and inference without suffering familiar positivist problems. I suggest that much of vision can fruitfully be studied in isolation from other mental processes. ;The third and fourth chapters provide a contemporary account of human vision. A model of the neural circuitry of vision is provided. Similar treatment is given to mathematical modeling of spatial vision . Also, some attention is paid to lower level biological details and to higher level functional attributes of the system. Research methodologies are discussed, as are the connections between the various levels of investigation. ;The concluding chapter begins with a theoretical and methodological comparison of experimental work cited as empirical foundation for various forms of conventionalism with that supporting modularity . The questions of Chapter I are then reconsidered in light of the vision science of Chapters III and IV. It is shown that current understanding of vision elucidates many of the problems of pictorial representation. Especially relevant is the observation that human spatial vision functions by abstracting certain features from the environment, features that are preserved in certain sorts of pictures. It turns out that many of the conventionalist claims about mind, vision and pictorial representation are unsupportable, given current understanding of mind and vision. (shrink)

One of the possible ways to explain the experience of visual richness is to posit a level of nonconceptual or phenomenal experience. The contents of this level of experience have recently been equated with the contents of sensory memory. It will be argued that sensory memory cannot provide these contents along two broad points. First, the conception of sensory memory relied on by these authors conflates the phenomena of visible and informational persistence, and makes use of an outdated “iconic” model (...) of visual short-term memory. Second, the way in which subjects’ reports are used to show that specific unreported contents are nevertheless experienced on a phenomenal level is questioned, using evidence on gist and high-level categorical perceptual processing. It is concluded that sensory memory, properly understood, cannot provide the kind of visual content required to support a level of richly detailed phenomenal experience, or a pictorial account of perception. Finally, alternative ways of explaining visual richness are suggested. (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)

This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But Danto’s claim that (...) freedom is the outcome of inexplicability, and progress is measured by amenability to narrative, does not follow. Based on Gombrich’s theory of pictorial representation, I provide an alternative explanation of Danto’s claim that art no longer manifests the narrative of the era of art, arguing that the shift in art’s preferred form of presentation, though no longer supporting narrative explanation, is developing as a language of disclosure. (shrink)

On May 14, 1940, Otto Neurath and Marie Reidemeister fled from the harbour of Scheveningen in The Hague to England. It was the last boat that could escape from Holland before the German occupiers took the city. Years earlier, in 1934, they had fled the same danger from Vienna to Holland. Otto Neurath can be seen as the godfather of today's infographics. In the Gesellschafts- und Wirtschaftsmuseum (Social & Economic Museum) that he founded in Vienna, developments in various areas of (...) society were shown by means of pictorial statistics to a broad audience - rich and poor, literate and illiterate. At the Museum, Otto Neurath acted as the scientific director and inspirer, Marie Reidemeister as the 'Transformer' of data into sketches, and Gerd Arntz as the head of the graphics department which designed pictograms and layouts. These three continued that work in Holland under the acronym Isotype (International System Of TYpographic Picture Education). After internment as 'enemy aliens' on the Isle of Man, Neurath & Reidemeister were able to continue their work in the UK. Through Wolfgang Foges and his book packaging firm Adprint, they were commissioned to design Isotype charts for books supported by the Ministry of Information during the war - what might be called 'soft propaganda'. From 1942, Isotypes were supplied for information about the embryonic welfare state (Beveridge Plan), for illustrated books about Britain's allies (USA and USSR), and on what British democracy should look like after the war. This book illustrates around 250 Isotypes from these publications and provides information about the producers, authors, editors, and designers, and not least about the working relationship between the Isotype Institute and Adprint. The examples presented show the remarkable quality of the graphics, produced under less than ideal circumstances during wartime. (shrink)

Mario Savio is widely known as the first spokesman for the Free Speech Movement. Having spent the summer of 1964 as a civil rights worker in segregationist Mississippi, Savio returned to the University of California at a time when students throughout the country were beginning to mobilize in support of racial justice and against the deepening American involvement in Vietnam. His moral clairty, his eloquence, and his democratic style of leadership inspired thousands of fellow Berkeley students to protest university (...) regulations that had severely limited political speech and activity on campus. The nonviolent campaign culminated in the largest mass arrest in American history, drew widespread faculty support, and resulted in a revision of university rules to permit political speech and organizing. This significant advance for student freedom rapidly spread to countless other colleges and universities across the country. Mario Savio went on to become a college teacher of physics, logic, and philosophy, to speak and organize in favor of immigrant rights and affirmative action and against U.S. intervention in Central America. He died on November 6, 1996, in the middle of a struggle against California State University fee hikes that hurt working-class students. Savio had submitted this article to the Notre Dame Journal of Formal Logic before he died. Final revisions were made by Philip Clayton with the assistance of Mario's colleagues at Sonoma State University. As reader for the Journal, George Englebretsen not only provided an extensive commentary on the article--much of which has been incorporated here--but also assisted in the difficult task of making revisions without changing the substance of Mario's style or thought. It is fitting that this, Savio's final publication, would be pedagogical in orientation. For him, moral considerations were no less pertinent in logic than in philosophy's less abstract fields. The usual student confusion with Venn diagrams led him to develop the new pictorial device presented in the following pages, which he believed was more sensitive to user psychology. It is hard to miss the political overtones in Savio's closing worry that in Venn diagrams "information of real significance may occasionally appear hidden and distorted." The decision by the Notre Dame Journal of Formal Logic to publish this piece posthumously is a testimony that logic, no less than other fields of philosophy, can be a tool of free speech and political change--as powerful in its way as the rhetorical brilliance of that young man standing on top of a police car who launched a worldwide movement with the words, "There is a time when the operation of the machine becomes so odious, makes you so sick at heart, you can't take part.". (shrink)

One challenge while learning scientific concepts is to select relevant information and to integrate different representations of the learning content into one coherent mental model. Virtual reality learning environments offer new possibilities to support learners and foster learning processes. Whether learning in VR is successful, however, depends to a large extent on the design of the VRLE and the learners themselves. Hence, adding supportive elements in VRLEs, such as annotations, might facilitate the learning process by guiding attention and supporting (...) the selection of relevant information. Additionally, the mapping of pictorial and verbal information is eased by these annotations. The beneficial effect of annotations is highly dependent on learners' intrinsic motivation as intrinsic motivation while learning also affects the information selection and visual search patterns. In our experimental study, we compared two conditions: learning in a VRLE with or without annotations. We measured the learning outcome on three different levels. Additionally, we investigated intrinsic motivation as a moderator for the effect of annotations on learning outcome. We found no significant main effect of annotations on learning outcome. The moderating effect of intrinsic motivation for annotations on the overall learning outcome was significant. Our results imply that learners are either intrinsically motivated or need additional support by annotations as these support the selection of relevant information in the VRLE and therefore enable them to learn successfully. Which type or quantity of annotations supports learning processes best needs to be explored in future research. (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)

This paper concerns the role of intuitions in mathematics, where intuitions are meant in the Kantian sense, i.e. the “seeing” of mathematical ideas by means of pictures, diagrams, thought experiments, etc.. The main problem discussed here is whether Platonistic argumentation, according to which some pictures can be considered as proofs (or parts of proofs) of some mathematical facts, is convincing and consistent. As a starting point, I discuss James Robert Brown’s recent book Philosophy of Mathematics, in particular, his primarily examples (...) and analogies. I then consider some alternatives and counterarguments, namely John Norton’s opposite view, that intuitions are just pictorially represented logical arguments and are superfluous; and the Kantian transcendental theory of construction in imagination, as it is developed in the works of Marcus Giaquinto and Michael Friedman. Although I support the claim that some intuitions are essential in mathematical justification, I argue that a Platonistic approach to intuitions is partial and one should go further than a Platonist in explaining how some intuitions can deliver new mathematical knowledge. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

This article aims to show the development of Wittgenstein’s conception of language from a pictorial model to a musical model. At first language is considered as a “means of representation” but in the second phase of Wittgenstein’s work the problem of understanding a proposition and the different shades of meaning supports an analogy with the musical dimension. In this perspective, Wittgenstein approaches the idea of language-game.

This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional (...) architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life. (shrink)