This book presents an original theory of the nature of pictorial representation. The most influential recent theory of depiction, put forward by Nelson Goodman, holds that the relation between depictions and what they represent is entirely conventional. Flint Schier argues to the contrary that depiction involves resemblance to the things depicted, providing a sophisticated defence of our basic intuitions on the subject. Canvassing an attractive theory of 'generativity' rather than resemblance, Dr Schier provides a detailed account of depiction, showing how (...) it illuminates and resolves many of the enigmas of pictorial representation while remaining true to our basic intuitions on the subject. Philosophers, psychologists and art theorists will find this a sophisticated and stimulating treatment of one of the central topics in aesthetics. (shrink)

Auth: University College London, Distributed by Viking.

In lieu of an abstract, here is a brief excerpt of the content:Erotic Art and Pornographic PicturesJerrold LevinsonOnly in primitive art, with its urgent need to evoke the sources of fertility, are the phallus and the vulva emphasized, as it were innocently. By ancient Greek and Roman times there already existed the special category of the pornographic—graphic art or writing supposed, like a harlot, or porne, to sexually stimulate.1IAS REGARDS PHILOSOPHICAL ANALYSIS of the opposition between the erotic and the pornographic, (...) there are a number of reasonable goals one might have: to preserve as many considered intuitions about the opposition as possible; to present the opposition in a clearer light than it enjoys when casually invoked; to modestly "sharpen" the standard opposition that either accounts for our experience in this domain more fully, or allows us to organize our thinking about the domain more perspicuously. I hope in this paper to make progress toward some of those goals. Though the scope of the erotic/pornographic opposition goes beyond the visual, my focus here will be the opposition as it exists in the visual sphere, and even more narrowly, in the sphere of images. In addition to preserving and clarifying a distinction between erotic art and pornography, I hope also to make an intelligible place for erotica, as something intermediate between the other two.Here, then, are some intuitions on the erotic and the pornographic: [End Page 228]1. the erotic and the pornographic are both concerned with sexual stimulation or arousal.2. while the term "erotic" is neutral or even approving, the term "pornographic" is pejorative or disapproving.3. while "erotic art" is a familiar, if somewhat problematic, notion, "pornographic art" seems an almost oxymoronic one.4. whereas pornography has a paramount aim, namely, the sexual satisfaction of the viewer, erotic art, even if it also aims at sexual satisfaction on some level, includes other aims of significance.5. whereas we appreciate (or relish) erotic art, we consume (or use) pornography. In other words, our interactions with erotic art and pornography are fundamentally different in character, as reflected in the verbs most appropriate to the respective engagements.In what follows I try to accommodate all of those intuitions. As I will need a distinction invoked in the first of them (between sexual stimulation and sexual arousal) let me spell that out before proceeding. By sexual stimulation I will mean the inducing of sexual thoughts, feelings, imaginings, or desires that would generally be regarded as pleasant in themselves. By sexual arousal I mean the physiological state that is prelude and prerequisite to sexual release, involving in the male, at least, some degree of erection. And by sexual release I mean something that I take it needs no spelling out.How to differentiate erotic art from pornography, and from erotica as well, is of course not the only important philosophical question about erotic art. Here are two others: 1) How is the erotic aspect of erotic art compatible with the disinterested or distanced frame of mind that seems required for aesthetic engagement with or appreciation of a work of visual art? 2) How is the degree of eroticness of a work of erotic art related to its artistic value? I will briefly address those two questions toward the end of the paper, but most of my effort will be devoted to the prior question, that of the differentiation of erotic art, erotica, and pornography.IIHow, then, to effect that differentiation in the domain of visual images to which I have restricted my inquiry? One possibility would [End Page 229] concern the specific kind of response aimed at. Thus, erotic art might be said to involve images intended to sexually stimulate, but also to reward artistic interest; erotica to involve images intended to sexually stimulate but not to reward artistic interest; pornography to involve images intended to sexually arouse in the interests of sexual release. Another possibility would be by the character of the sexual representation involved, so that pornography would involve sexually explicit images, erotic art would involve sexually inexplicit images, and erotica images would be intermediate in their explicitness, irrespective of the ends for which the images were fashioned. A third possibility would be by... (shrink)

In his long-awaited new edition of Philosophy of Mathematics, James Robert Brown tackles important new as well as enduring questions in the mathematical sciences. Can pictures go beyond being merely suggestive and actually prove anything? Are mathematical results certain? Are experiments of any real value?" "This clear and engaging book takes a unique approach, encompassing nonstandard topics such as the role of visual reasoning, the importance of notation, and the place of computers in mathematics, as well as traditional topics (...) such as formalism, Platonism, and constructivism. The combination of topics and clarity of presentation make it suitable for beginners and experts alike. The revised and updated second edition of Philosophy of Mathematics contains more examples, suggestions for further reading, and expanded material on several topics including a novel approach to the continuum hypothesis."--BOOK JACKET. (shrink)

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part (...) sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken. (shrink)

In several recent publications in the philosophy of chemistry we have made use of a repertoire of analytical concepts to guide our investigations. Perhaps studies of other sophisticated knowledge garnering practices could benefit from adopting this analytical scheme if we want to understand their merits and drawbacks. Our suggestions for shaping methodologies for philosophical studies in particular fields of interest includes both the natural sciences, legal systems in action, economies and their management, warfare, preparing the dishes of a cuisine, and (...) so on. Adopting our proposals would encourage philosophers to examine our world seen as fields of material and cultural/social entities affording opportunities for action. At a certain level of analysis, the products of such action, appear to be perfectly identical entities, fungibles. There are no fungibles in nature. They must therefore be thought of as constituents of iconic models. Our scheme for critically examining the practices of investigators is meant to ensure the intelligibility both of the relevant discourse and the trustworthiness of the practices of the discipline in question. The Third Wittgenstein's ‘hinges’ that function as necessities and yet are vulnerable to empirical assessment provide a generic frame for analyses of human practices. (shrink)

The general principle behind the effects of nested sets on the use of base rates, we believe, is that the mind is prepared to take in Without any need to assume two cognitive systems, this principle explains how the proper use of base rates can be facilitated and also accounts for occasions when base rates are overused.

It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings (...) through touch. This shows that pictures are not essentially visual representations. The view that pictures are essentially visual follows from influential views of the nature of depiction and of the nature of vision that are mistaken. By rooting out the mistake, we learn something about pictures, something about vision, and something about the doctrine that art media are individuated by the sense modalities. (shrink)

According to Dominic Lopes, expressiveness in pictures should be analyzed solely in terms of “expression looks” of various sorts, namely the look of a figure, a scene and/or a design. But, according to this view, it seems puzzling that expressive pictures should have any emotional effect on their audiences. Yet Lopes explicitly ties his “contour theory” of expression in pictures to empathic responses in spectators. Thus, despite his deflationary account of pictorial expression, he claims that pictures (...) can give us practice in various “empathic skills.” I argue that Lopes’s account of empathic responses to pictures, while interesting and enlightening, nevertheless ignores the most important way in which pictures exercise and enhance our empathic skills, namely, by giving us practice in taking the emotional perspective of another person. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate (...) that motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

This chapter explores the cognitive and moral significance of the kind of imaginative experience poetry offers. It identifies two forms of imaginative experience that are especially important to poetry: ‘experiencing-as’ and ‘experience-taking’. Experiencing-as is ‘inherently first-personal, embodied, and phenomenologically characterized’ while in experience-taking one ‘takes the perspective of another, simulating some aspect or aspects of his psychology as if they were his own’. Through a sensitive and probing reading of Paul Celan’s Psalm, the chapter shows the role these two forms (...) of experience play in producing the unique form of ethical and epistemic value poetry can bear. The chapter’s argument for this has important implications for our understanding of the poetic imagination and nature of our experience of meaning in poetic contexts. (shrink)

In this article, I elaborate on the approach to joy preserved in East Asian Yogācāra texts authored by Xuanzang and his disciple, Kuiji. I argue that these Yogācāra Buddhists propose a contextualist approach that does not presume joy to be an emotion with an essential property but rather perceives joy as always contextualized in lifeworlds at the personal and interpersonal levels. As such, Xuanzang and Kuiji outline two contrasting pictures of joy to capture how it is experienced in the (...) lifeworld of ignorance and the lifeworld of wisdom, respectively. Upon delineating what joy is and how it is experienced, I continue to explore what joy can promise. Since joy does not have an inherent property, people can always make a collaborative effort to recontextualize joy for inclusion and emancipation. As such, I hope to draw on the Yogācāra analysis of joy to enrich the feminist discussion on happiness. (shrink)

The System of Existential Graphs may be characterized with great truth as presenting before our eyes a moving picture of thought. Provided this characterization be taken not as a flatly literal statement, but as a simile, it will, I venture to predict, surprise you to find what a strain of detailed comparison it will bear without snapping.Peirce once called his graphical system of logic—the Existential Graphs or EGs—the moving pictures of thought. In this essay, I argue that Peirce meant (...) that using his graphs to study the movement of thought is akin to Eadweard Muybridge’s use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because:... (shrink)

The review of the theory of electromagnetic field together with the special and general theories of relativity has been made. The similar theory of gravitation has been presented which has the property of Lorentz-invariancy in its own representation in which the information is transferred at the speed of propagation of the gravitational field. Generalization of the specified gravitation theory on noninertial reference systems has been made with the help of the mathematical apparatus of the general relativity. It allows to avoid (...) some drawbacks of the standard general relativity theory and to expand its applicability. The possibility of complementary descriptions of the physical phenomena with the help of simultaneous use of the theories of gravitational and electromagnetic fields has been shown. (shrink)

While some film theorists and philosophers have seen motion as a necessary element of cinema, this view is challenged by a body of avant-garde films which offer little or no movement. These experiments—by film-makers such as Andy Warhol, Larry Gottheim, and Michael Snow—challenge essentialist definitions of film, while simultaneously foregrounding the crucial role played by duration in cinema’s ontology.

Frances Kamm's characteristically subtle paper in response to Michael Sandel is an intriguing intervention in the long-standing and increasingly frustrating debate over the morality of enhancement...