Though pictures are often used to present mathematical arguments, they are not typically thought to be an acceptable means for presenting mathematical arguments rigorously. With respect to the proofs in the Elements in particular, the received view is that Euclid's reliance on geometric diagrams undermines his efforts to develop a gap-free deductive theory. The central difficulty concerns the generality of the theory. How can inferences made from a particular diagrams license general mathematical results? After surveying the history (...) behind the received view, this essay provides a contrary analysis by introducing a formal account of Euclid's proofs, termed Eu. Eu solves the puzzle of generality surrounding Euclid's arguments. It specifies what diagrams Euclid's diagrams are, in a precise formal sense, and defines generality-preserving proof rules in terms of them. After the central principles behind the formalization are laid out, its implications with respect to the question of what does and does not constitute a genuine picture proof are explored. (shrink)

Several prominent philosophers of science, most notably Ron Giere, propose that scientific theories are collections of models and that models represent the objects of scientific study. Some, including Giere, argue that models represent in the same way that pictures represent. Aestheticians have brought the picturing relation under intense scrutiny and presented important arguments against the tenability of particular accounts of picturing. Many of these arguments from aesthetics can be used against accounts of representation in philosophy of science. I rely (...) on Dominic Lopes' recent summary of arguments against various views of picturing and reformulate some of them to fit the philosophy of science context. My specific targets here are Giere and Steven French. I go on to argue that assuming all scientific models and images represent in the same way is not the best guide to understanding scientific practice. (shrink)

It’s a platitude that a picture is realistic to the degree to which it resembles what it represents (in relevant respects). But if properties are abundant and degrees of resemblance are proportions of properties in common, then the degree of resemblance between different particulars is constant (or undefined), which is inconsonant with the platitude. This paper argues this problem should be resolved by revising the analysis of degrees of resemblance in terms of proportion of properties in common, and not by (...) accepting a sparse theory of properties or by denying that degree of realism is degree of resemblance (in relevant respects). (shrink)

How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with (...) particulars but for acquainting us with certain kinds of properties. This conception is outlined in §4, where it is argued that pictures are useful devices for what Heal has called indexical predication. In §2 and §3, I explain why I believe that remote acquaintance theories are false, and why picture-perception cannot function as a form of extended or remote object-perception. The main reason is that the contents of picture-perceptions do not themselves provide the kind of numerical and contextual information required for singular thought. Picture-reference is instead secured by independent beliefs or linguistic communication about the causal history of pictures as objects. In other words, it is beliefs about the numerical identity of pictures as objects that anchors the reference of the representational contents of pictures. (shrink)

CHAPTER ONE PICTURING What is it for one thing to be a picture of another? There are numerous theories which purport to clarify the picturing relation, ...

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, (...) and pointless theories. To do so, the paper proceeds from a case-study on a lastingly influential development in early modern philosophy: the adoption of the doctrine of secondary qualities, and its principal consequences. The findings motivate a new approach to an arguably extensive and important class of philosophical problems: to the problems we raise in the grip of philosophical pictures. (shrink)

How are we to understand philosophical claims about sense perception being direct versus indirect? There are multiple relevant notions of perceptual directness, so I argue. Perception of external objects may be direct on some notions, while indirect on others. My interest is with the sense in which ideas count as perceptual mediators in the philosophy of Descartes and Locke. This paper has two broader aims. The first is to clarify four main notions of perceptual directness. The second is to support (...) my contention that in the texts characterizing ideas as immediate objects of perception, Descartes and Locke are invoking the notion of directness I call 'objectual'. This notion is modeled on the way a picture mediates perception of the pictured object. The upshot of my account is that – with respect to the objectual notion of directness – Descartes and Locke each hold an indirect theory of perception. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded (...) upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the ‘mind-cure’ of the body through the positive application of ‘mental pictures’. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. (shrink)

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to (...) the mass media. (shrink)

The DIALOG between Husserlian Phenomnnology and Analytic Philosophy is severely hampered by the fact that much of the secondary literrature on phenomenology fails to pay attention to certain subtile semantical distinctions which are basic for a clear understanding of epistemological issures. Some European Phenomenologists even take pride in their neglect of what they consider to be shallow scholastic quibbling. I hope to remedy this short-coming by outlining in this paper what I believe to be the keypoints of Husserl's theory (...) of perception and theory of meaning. My apprach will be developmental because contrary to popular belief phenomenology has not been revealed in ont instantaneous intuition; on the contrary Husserl's views developed and shifted constantly throughout his life. (shrink)

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

Criticism of ‘the West’ and of ‘Western civilization’ in Germany in the early 20th century is generally most familiar today as a conservative force of the age. It is well-known that at the outbreak of war in August 1914 a longstanding German complex of resentment of the Western European powers exploded in a call to arms. Yet it needs to be stressed that not all prominent German bourgeois writers endorsed a wholly militant reading of the motif of German national-cultural ‘protest (...) at the West’. By 1918 an array of voices could come to discern another kind of salient work of contention that refused apology for any kind of violent Kulturkrieg. The thesis defended in this article is that in sophisticated humanistic writing of the era, a German mood of antagonism with the West represents not a regressive ideology but the productive and intelligent outcome of a longstanding preeminence of philosophical questioning in German academic life since the later 19th century about European world pictures and their claims to universal validity on the stage of world history. A range of statements are shown here to anticipate debates of the present day about ‘late’, ‘reflexive’ or ‘post-Eurocentric’ conditions of Western modernity. (shrink)

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.

This paper avers that most attempts at formulating viable theories in African philosophy are saddled with intrusions of ethnophilosophic and ethnocentric types: The author identifies this as the phenomenon of “unintended ethnocentric commitment”. He uses communalism, a socio-political theory in African philosophy, to illustrate his point. He further argues that overreliance on the method of synthetic deduction - as is widely practised in African philosophy - can impact adversely on the universal outreach of theories and limit our knowledge of (...) the world. The paper contends that any theory that aspires to give us a clearer picture of the world should be in a position to contain the distortions arising from the promptings of sense experience. Likewise, such a theory should show clear evidence ofanalytic insight into the mechanisms and phenomena on the basis of which our knowledge of the world can be broadened and our judgement thereof improved. By recourse to the method and principles of ibuanyidanda (complementary reflection) philosophy, a systematic methodological approach to theory formulation in African philosophy, the author shows how theories in African philosophy can be articulated more resourcefully with a view to upholding their systematic and universal relevance. (shrink)

This chapter contains section titled: Is Biology Like Physics? Laws of Nature: The Standard Picture Why Not Laws of Biology? The Problem of Exceptions Why Not Laws of Biology? The Problem of Accidentalness A Worked Example: The “Area Law” Evolutionary Accidents as Laws of Functional Biology References Further Reading.

I argue that there is tension in Wittgenstein’s position on trivialities (i.e. tautologies and contradictions) in the Tractatus, as it contains the following claims: (A) sentences are pictures; (B) trivialties are not pictures; (C) trivialities are sentences. A and B follow from the “picture theory” of language which Wittgenstein proposes, while C contradicts it. I discuss a way to resolve this tension in light of Logicality, a hypothesis recently developed in linguistic research. Logicality states that trivialities are (...) excluded by the grammar, and that under the right analysis sentences which look trivial are in fact contingent. The tools necessary to support Logicality, I submit, were not available to Wittgenstein at the time, which explains his commitment to C. I end the paper by commenting on some points of contact between analytic philosophy and the generative enterprise in linguistics which are brought into relief by the discussion. (shrink)

I argue that the picture theory provides both a common referential hase and a common logical syntax for languages embodying alternative conceptual schemes. I offer an analysis of depiction, explicating the Tractarian concepts of pictorial structure, pictorial relationship, and representational form. Significant failure of reference and the existence of languages with incompatible ontological commitments show that on the molar level depiction is not required for sense. Using three premises, taken to be axiomatic for Wittgenstein, I show that analysis leads (...) to a base of elementary propositions which must depict in order to be significant. There, the relations between pictorial structure, pictorial relationship and representational form are such that reference is secured and conceptual relativity precluded. (shrink)

What do pictures and mental images have in common? The contemporary tendency to reject mental picture theories of imagery suggests that the answer is: not much. We show that pictures and visual imagery have something important in common. They both contribute to mental simulations: pictures as inputs and mental images as outputs. But we reject the idea that mental images involve mental pictures, and we use simulation theory to strengthen the anti-pictorialist's case. Along the way (...) we try to account for caricature and for some basic features of pictorial representations. (shrink)

It is suggested that wittgenstein's picture theory of meaning is, In part a synthesis and resolution of the early metaphysics of moore and the theory of judgment held by russell about 1910. Moore's theory of the objective existence of concepts and their propositional role is considered. Russell's unsuccessful attempt at the problem of the false proposition is discussed. The ptm offers a more successful solution, Through the concept of logical form, Akin to the russellian concept of order. (...) But this solution still fails because it does not hold for ordinary language. (shrink)

In this paper, I analyze the significance of Ernest Nagel's introduction of the notion of model in his reconstruction of scientific theories. Nagel's account is generally considered as a version of the "received view" of theories, whose main advocate is Carnap. However, I will show that Nagel's considerations on models imply a renunciation to the logical empiricists' project of the formalization of scientific theories. I will argue that Nagel implicitly acknowledges that, in order to study the content of theories, one (...) cannot abstract away from the agents' understanding of theories, and from the reasoning processes they perform when using them. (shrink)

In earlier papers, I have sketched some aspects of a semantical theory of quantification, developed in terms of the concept of a model set. Furthermore, I have indicated a method of relating this semantical, or half-semantical, theory to the usual deductive methods. This method turned on considering proofs of logical truth as frustrated attempts to describe a counter-example to the sentence to be proved. In this paper, I propose to relate some of the observations that were made in (...) the earlier papers to the doctrines which are generally known as picture theories of language. My main thesis is that these theories can be related rather closely to the logic of quantification by developing them in a suitable direction, and by using the concept of a model set as a mediating link. (shrink)

This paper introduces pictures more generally into the discussion of cognition and mind. I will argue that pictures play a decisive role in shaping our mental lives because they have changed (and constantly keep changing) the ways we access the world. Focusing on pictures will therefore also shed new light on various claims within the field of embodied cognition. In the first half of this paper I address the question of whether, and in what possible ways, (...) class='Hi'>pictures might be considered to be part of our extended mind. We will see however, that the explanatory means contingent upon the extended mind thesis – i.e. the claim that the vehicles of cognition are not confined to the boundaries of the individual organism – can only take us so far. Beyond such claims it will be pivotal to understand in what specific ways pictures might be regarded as being at the basis of certain perceptions of and interactions with the world. I will therefore address, in the second half of this paper, in what ways enactive and affective elements should inform our theory of the pictorial mind. In the course of this discussion it will become apparent that pictures are strange objects because they differ profoundly from other objects surrounding us. And it will also turn out that pictures – beyond the fact that they can be considered to be tools for our mind (in the sense that they facilitate our access to the world) – are rather strange or stubborn tools in that something in them resists full integration into our cognitive routines. (shrink)

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is (...) to defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. -/- It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. -/- The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors. (shrink)

The leading models of disability struggle to fully encompass all aspects of “disability.” This difficulty arises, the author argues, because the models fundamentally misunderstand the nature of disability. Current theoretical approaches to disability can be understood as “nounal,” in that they understand disability as a thing that is caused or embodied. In contrast, this paper presents an adverbial perspective on disability, which shows that disability is experienced as a personally irremediable impediment to daily-living tasks or goals-like-ours. The picture theory (...) of disability technically constitutes a species of relational approach because its analysis references the interplay between an individual and their environment; it differs from other relational accounts, however, by interpreting disability as a certain kind of negative experience—rather than a function of that relationship. This purely descriptive theory makes no normative claims about disability and operates as both a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. When disability is reframed in this way, the theory offers a particularist perspective which shows if, when, where, and how disability is experienced. (shrink)

The Social Intelligence or Social Brain Hypothesis is an influential theory that aims to explain the evolution of brain size and cognitive complexity among the primates. This has shaped work in both primate behavioural ecology and comparative psychology in deep and far-reaching ways. Yet, it not only perpetuates many of the conceptual confusions that have plagued psychology since its inception, but amplifies them, generating an overly intellectual view of what it means to be a competent and successful social primate. (...) Here, I present an analysis of the Social Intelligence/Brain hypothesis highlighting how its anthropocentric origins have led us to be held captive by a picture of what social life involves and the kind of mind needed to navigate the social landscape. I go on to consider how experimental work in this vein either does not test what it claims to be testing, or introduces impossible problems regarding animal minds that cannot be solved, but only dissolved. What we need, in other words, is the application of “Wittgenstein's razor” and the reinvention of primatology along his enactivist lines. (shrink)

In Imagination, Jim Davies explains that most humans have mental imagery: an ability to make pictures in the mind without immediate perceptual input-as we do when we dream. Davies writes programs that enable computers to do something similar. Given a few words of description, a computer can generate pictures with several objects arranged in appropriate ways. Jonathan Gilmore’s Apt Imaginings is about whether engagement in works of fiction is continuous or discontinuous with how we deal with people and (...) objects in everyday life. He argues for discontinuity. In constructing a critical framework within which to evaluate these two books, I use Kenneth Craik’s theory of mental models. Craik’s theory enables us to understand how we humans have evolved to imagine possible futures, to plan and to act in relation to them, and also to imagine what might be going on in other people’s minds. (shrink)

In the Tractatus Logico-Philosophicus Wittgenstein appeals to clarity when he characterises the aim, task and results of philosophy. In this essay I suggest that his ‘picture theory’ of language implies that clarity has aesthetic significance in philosophical work. Wittgenstein claims that the task of philosophy is to make thoughts clear. In the ‘picture theory’ of thought and language, a thought expressed in language is a proposition with a sense and a proposition is a picture of reality. The question (...) I pose is: how should we construe clarity, if making a thought clear is making clear a picture of reality? Following a close analysis of the picture theory, paying particular attention to the notions of depicting, presenting and mirroring, I conclude that the result of philosophical work – the clarification of propositions – will be pleasurable, inexpressible and intrinsically valuable. For these reasons I suggest that the attainment of a clear thought is an aesthetic experience. (shrink)

This book critically reflects upon how images are mobilised within certain knowledge traditions, beyond the established categories of art, scientific visualisations and religious images. Thinking through and with images across ages, the authors seek to expand our understanding of the relationship between the visual and the epistemic.

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.

The Picture of Abjection is an analysis of independent, contemporary, international film. Appropriating Kristeva's analysis of abjection, which she developed in the context of psychoanalytic theory to designate that which a subject rejects as a site of impurity, the book takes up the abject in order to illuminate various intersections of discrimination. The focus is on how race, gender, class, sexuality, ethnicity and nationality intersect with one another in ways that involve abjection. The argument is informed by a variety (...) of disciplines, including film theory, psychoanalysis, philosophy and gender theory. The aim of the book is to enhance understanding of how film can both engage in and ameliorate the ways forms of discrimination play off one another. (shrink)

The authors consider the relationship between knowledge and image, though multi-faceted, to be one of reciprocal dependence. But how do images carry and convey knowledge? The ambiguities of images means that interpretations do not necessarily follow the intention of the image producers. Through an array of different cases, the chapters critically reflect upon how images are mobilised and used in different knowledge practices, within certain knowledge traditions, in different historical periods. They question what we take for granted, what seems evident, (...) what goes without saying. This approach spans across established categories such as «scientific imaging», «religious images» and «artworks», and considers how images may contribute meaning across such categories. (shrink)

This contribution is about semiology and art history. More specifically, it argues against the frequent claims that art history ought to take much more notice of semiology than it has tended to do so far. The argument against these claims is simple and basic: art history deals largely with images, and semiology does not — it has, in fact, little to say about them.Semiology has recently been presented as a “supra-disciplinary” theory” that, although in practice most often applied to (...) written texts, could equally well be applied to the art of painting. It has been considered merely a “historical accident” that semiotics was developed primarily “in conjunction with literary texts”. I do not think this is so. Semiology (or semiotics) not only has a strong anti-iconical bias, this bias was in fact one of its principles from the very beginning.Furthermore, the so-called “supra-disciplinary theory” of semiotics (in the form advocated for the humanities) is based upon specific views of language, signification and meaning, and these are not as evident as they are often made out to be — not even with regard to language itself. In particular the overriding importance attached to the role of “arbitrariness” within sign systems is questionable.In any case images are indeed in a class of their own, and without the acknowledgement of what is typical about them, it is hard to make much sense of either their use or construction — let alone of the history of art. (shrink)

This chapter focuses on picture theory, which is sometimes spoken of as a theory of the proposition. By a proposition, Wittgenstein like Frege means something that determines its sense by means of a correlation between the mode of combination of its constituent symbols and the structure of its sense. It has been an orthodoxy amongst Tractatus interpreters, and continues to be such in the wider philosophical community, that Wittgenstein follows the Russell in offering a correspondence theory of (...) truth. The expression of a Tractarian fact provides that fact's mode of combination, and from here there can be no further question as to the ontological types of its constituents. Tractarian facts, it is however added, are not truth conditions but items whose existence explains the obtaining of truth conditions: a Tractarian atomic fact is not a truth condition but a truthmaker. (shrink)

This article argues that common intuitions regarding (a) the specialness of ‘use-novel’ data for confirmation and (b) that this specialness implies the ‘no-double-counting rule’, which says that data used in ‘constructing’ (calibrating) a model cannot also play a role in confirming the model’s predictions, are too crude. The intuitions in question are pertinent in all the sciences, but we appeal to a climate science case study to illustrate what is at stake. Our strategy is to analyse the intuitive claims in (...) light of prominent accounts of confirmation of model predictions. We show that on the Bayesian account of confirmation, and also on the standard classical hypothesis-testing account, claims (a) and (b) are not generally true; but for some select cases, it is possible to distinguish data used for calibration from use-novel data, where only the latter confirm. The more specialized classical model-selection methods, on the other hand, uphold a nuanced version of claim (a), but this comes apart from (b), which must be rejected in favour of a more refined account of the relationship between calibration and confirmation. Thus, depending on the framework of confirmation, either the scope or the simplicity of the intuitive position must be revised. (shrink)

This paper builds upon ethnomethodological and social constructivist studies of representation in the natural sciences to examine sociological theory, a field that is much closer to home. An analysis of diagrams and related illustrations in theory texts shows that labels, geometric boundaries, vectors, and symmetries often are used to convey a sense of orderly flows of causal influences in a homogeneous field. These graphic elements make up what I call a "rhetorical mathematics" that conveys an impression of rationality. (...) Although theory pictures rarely show much beyond what a text already says in its writing, they simulate a hermeneutic passage from written ideas to an independent representational or mathematical space. The paper discusses two modes of textual disruption of the rhetorical mathematics of theory pictures: parody and deconstruction. Parody makes ironic use of graphic devices in order to expose the rationalistic associations that come with the territory. Deconstruction displaces (and, if taken far enough, dissolves entirely) the Flatland of pictorial rationality. These negative maneuvers raise the possibility of using figural space for alternative modes of sociological inquiry. (shrink)