Results for 'depiction'

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Bibliography: Depiction in Aesthetics
  1. Explaining depiction.Robert Hopkins - 1995 - Philosophical Review 104 (3):425-455.
    An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how (...)
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  2. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    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 (...)
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  3. Depiction and imagination.Jiri Benovsky - 2016 - SATS 17 (1):61-80.
    Depiction and imagination are intimately linked. In this article, I discuss the role imagination (as well as inference and knowledge/belief) plays in depiction, with a focus on photographic depiction. I partly embrace a broadly Waltonian view, but not always, and not always for Walton's own reasons. In Walton's view, imagination plays a crucial role in depiction. I consider the objection to his view that not all cases of depiction involve imagination – for instance, documentary photographs. (...)
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  4. (1 other version)Depiction and convention.Ben Blumson - 2008 - Dialectica 62 (3):335-348.
    By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.
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  5.  56
    Depicting second-order isomorphism and “depictive” representations.Hedy Amiri & Chad J. Marsolek - 2002 - Behavioral and Brain Sciences 25 (2):182-183.
    According to Pylyshyn, depictive representations can be explanatory only if a certain kind of first-order isomorphism exists between the mental representations and real-world displays. What about a system with second-order isomorphism (similarities between different mental representations corresponding with similarities between different real-world displays)? Such a system may help to address whether “depictive” representations contribute to the visual nature of imagery.
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  6. Against Depictive Conventionalism.Catharine Abell - 2005 - American Philosophical Quarterly 42 (3):185 - 197.
    In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then (...)
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  7.  29
    On depicting social agents.Herbert H. Clark & Kerstin Fischer - 2023 - Behavioral and Brain Sciences 46:e51.
    We take up issues raised in the commentaries about our proposal that social robots are depictions of social agents. Among these issues are the realism of social agents, experiencing robots, communicating with robots, anthropomorphism, and attributing traits to robots. We end with comments about the future of social robots.
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  8. Depicting Depictions.René Jagnow - 2016 - Pacific Philosophical Quarterly 98 (S1):453-479.
    How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in (...)
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  9. Depiction and plastic perception. A critique of Husserl’s theory of picture consciousness.Christian Lotz - 2007 - Continental Philosophy Review 40 (2):171-185.
    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 (...)
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  10. Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures.Luca Marchetti - 2022 - British Journal of Aesthetics 62 (3):353-371.
    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 (...)
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  11.  84
    Talbot's Technologies: Photographic Depiction, Detection, and Reproduction.Patrick Maynard - 1989 - Journal of Aesthetics and Art Criticism 47 (3):263-276.
    Philosophy's only celebration of photography's 150th, the long-neglected philosophical job of clarification: drawing basic distinctions and defining basic conceptions, including photographic depiction, photographic detection, 'photograph of', 'documentary'. More than a lexicon, it explains why photography is important, by historically characterizing it through its uses for depiction, detection, reproduction, all of which have shaped the modern world. By consideration of it as 'mechanical', the paper explains photography's differences from practices with which it shares these functions. Happy birthday, photography.
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  12.  51
    A Syncretistic Theory of Depiction.Alberto Voltolini - 2015 - New York: Palgrave-Macmillan.
    What is depiction? This is a venerable question that has received many different answers throughout the whole history of philosophy, especially in contemporary times. A Syncretistic Theory of Depiction elaborates a new account on this matter by providing a theory of depiction that tries to combine the merits of the previous theories while dropping their defects. It is argued that a picture is a representation in a pictorial or figurative mode, and its 'figurativity' is given by a (...)
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  13. Depiction, Imagination, and Photography.Jiri Benovsky - 2020 - In Keith A. Moser & Ananta Charana Sukla, Imagination and Art: Explorations in Contemporary Theory. Brill | Rodopi.
    Imagination plays an important role in depiction. In this chapter, I focus on photography and I discuss the role imagination plays in photographic depiction. I suggest to follow a broadly Waltonian view, but I also depart from it in several places. I start by discussing a general feature of the relation of depiction, namely the fact that it is a ternary relation which always involves "something external." I then turn my attention to Walton's view, where this third (...)
     
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  14. Depiction and Composition.Ben Blumson - 2014 - In Resemblance and Representation: An Essay in the Philosophy of Pictures. Cambridge, UK: Open Book Publishers. pp. 99-116.
    Traditionally, the structure of a language is revealed by constructing an appropriate theory of meaning for that language, which exhibits how – and whether – the meaning of sentences in the language depends upon the meaning of their parts. In this paper, I argue that whether – and how – what pictures represent depends on what their parts represent should likewise by revealed by the construction of appropriate theories of representation for the symbol system of those pictures. This generalisation, I (...)
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  15. (3 other versions)Depiction.John Hyman - 2012 - Royal Institute of Philosophy Supplement 71:129-150.
    §1 Analytic philosophers interested in depiction have focused for the most part on two problems: first, explaining how pictures represent; second, describing the distinctive kinds of artistic value pictures can possess, or the distinctive ways in which they can embody artistic values that extend more broadly across the arts. I shall discuss the first problem here. The main concepts I shall be concerned with are depiction, resemblance, sense and reference.
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  16. Defining depiction.Ben Blumson - 2009 - British Journal of Aesthetics 49 (2):143-157.
    It is a platitude that whereas language is mediated by convention, depiction is mediated by resemblance. But this platitude may be attacked on the grounds that resemblance is either insufficient for or incidental to depictive representation. I defend common sense from this attack by using Grice's analysis of meaning to specify the non-incidental role of resemblance in depictive representation.
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  17. Depictive Verbs and the Nature of Perception.Justin D'Ambrosio - manuscript
    This paper shows that direct-object perceptual verbs, such as "hear", "smell", "taste", "feel", and "see", share a collection of distinctive semantic behaviors with depictive verbs, among which are "draw'', "paint", "sketch", and "sculpt". What explains these behaviors in the case of depictives is that they are causative verbs, and have lexical decompositions that involve the creation of concrete artistic artifacts, such as pictures, paintings, and sculptures. For instance, "draw a dog" means "draw a picture of a dog", where the latter (...)
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  18.  56
    Depicting and seeing-in. The ‘Sujet’ in Husserl’s phenomenology of images.Patrick Eldridge - 2018 - Phenomenology and the Cognitive Sciences 17 (3):555-578.
    In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...)
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  19. Depictive and Metric Body Size Estimation in Anorexia Nervosa and Bulimia Nervosa: A Systematic Review and Meta-Analysis.Simone Claire Mölbert, Lukas Klein, Anne Thaler, Betty J. Mohler, Chiara Brozzo, Peter Martus, Hans-Otto Karnath, Stefan Zipfel & Katrin Elisabeth Giel - 2017 - Clinical Psychology Review 57:21-31.
    A distorted representation of one's own body is a diagnostic criterion and core psychopathology of both anorexia nervosa (AN) and bulimia nervosa (BN). Despite recent technical advances in research, it is still unknown whether this body image disturbance is characterized by body dissatisfaction and a low ideal weight and/or includes a distorted perception or processing of body size. In this article, we provide an update and meta-analysis of 42 articles summarizing measures and results for body size estimation (BSE) from 926 (...)
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  20. Depictive Structure?Ben Blumson - 2011 - Philosophical Papers 40 (1):1-25.
    This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, (...)
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  21. Depicting Movement.Solveig Aasen - 2021 - Australasian Journal of Philosophy 99 (1):34-47.
    ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the (...)
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  22.  12
    Quantifying depictive secondary predicates in Australian languages.William McGregor - 2005 - In Nikolaus Himmelmann & Eva Schultze-Berndt, Secondary predication and adverbial modification: the typology of depictives. New York: Oxford University Press. pp. 173--200.
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  23. Depiction.Grzegorz Sztabiński - 2001 - Art Inquiry. Recherches Sur les Arts 3:155-166.
     
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  24.  46
    Fiction, Depiction, and the Complementarity Thesis in Art and Science.Elay Shech - 2016 - The Monist 99 (3):311-332.
    In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...)
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  25.  44
    From Abbild to Bild? Depiction and Resemblance in Husserl’s Phenomenology.Claudio Rozzoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):117-130.
    In a well-known course he gave in 1904-1905, Edmund Husserl developed a ‘threefold’ notion of image revolving around the notion of depiction [Abbildung]. More specifically, the phenomenological description allows a seeing-in to emerge as an essential characteristic of the image consciousness, in which an image object assumes the role of a representant [Repräsentant] in order to allow us to see the image subject in the image itself. Nevertheless, our paper – focusing particularly on what might be called the depictive (...)
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  26.  52
    Depicting Properties’ Properties.John Kulvicki - 2021 - Journal of the American Philosophical Association 7 (3):312-328.
    Little has been said about whether pictures can depict properties of properties. This article argues that they do. As a result, resemblance theories of depiction must be changed to accommodate this phenomenon. In addition, diagrams and maps are standardly understood to represent properties of properties, so this article brings accounts of depiction closer to accounts of diagrams than they had been before. Finally, the article suggests that recent work on perceptual content gives us reason to believe we can (...)
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  27.  34
    Depiction as possible phase in the dynamics of sociomorphing.Johanna Seibt - 2023 - Behavioral and Brain Sciences 46:e45.
    The depiction model presents a major advance in our theoretical conceptualization of how humans experience and understand social robots. But the scope of the model is, I suggest, more limited: It pertains to one possible phase in a more comprehensive cognitive-practical dynamics of sense-making (“sociomorphing”) as conceptualized in the OASIS framework. According to the OASIS framework, some basic social actions can be realized by robots, while others may be depicted in the way described by the model.
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  28.  83
    Visibility Constraints in Depiction: Objects Experienced versus Objects Depicted.Solveig Aasen - 2016 - Philosophical Quarterly 66 (265):665-679.
    It is widely accepted that pictures can only depict visible things. The paper criticises this ‘visibility constraint’ on the objects of depiction. The constraint is shown to imply that the range of visibilia is settled prior to an investigation of what can be seen in pictures. By contrast to this, I suggest that settling what can be seen in pictures is relevant to settling the range of visibilia. It is what we experience in pictures, and not the objects of (...)
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  29. Depiction.Christopher Peacocke - 1987 - Philosophical Review 96 (3):383-410.
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  30.  27
    Depicted rapes: How similar are vignette and newspaper accounts of rape?Irina Anderson & Geoffrey Beattie - 2001 - Semiotica 2001 (137):1-21.
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  31. Depiction of Violence in the Early Films of Sogo Ishii.Doga Col - 2024 - In Jaime Lopez Diez, Resonances of Japanese Cinema. Madrid: Editorial Fragua. pp. 6-25.
    Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he was not (...)
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  32.  14
    Depiction at its Limits: How Segantini’s Alpine Triptych Challenges Hyman’s Conception of Depiction.Florian Demont - 2014 - Kairos Journal of Philosophy and Science 11.
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  33.  67
    Depictions of the human person: a multidisciplinary approach to teaching ethics for advanced practice nursing.David J. Carter, Mark De Vitis & Erol Dulagil - 2019 - International Journal of Ethics Education 5 (1):101-114.
    Advanced practice nursing is an expanding field within many healthcare environments around the world. The scope and particular focus of an advanced practice nurse’s role is highly variable and thus the ethical challenges they face are equally diverse. Yet, the dominant existing ethics pedagogies used in the nursing context have been described as not fit-for-purpose. Existing pedagogies do not adequately prepare APN candidates to meet the ethical challenges they will encounter in practice. Applying an arts-based pedagogy in ethics education for (...)
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  34.  71
    Social robots as depictions of social agents.Herbert H. Clark & Kerstin Fischer - 2023 - Behavioral and Brain Sciences 46:e21.
    Social robots serve people as tutors, caretakers, receptionists, companions, and other social agents. People know that the robots are mechanical artifacts, yet they interact with them as if they were actual agents. How is this possible? The proposal here is that people construe social robots not as social agentsper se, but asdepictionsof social agents. They interpret them much as they interpret ventriloquist dummies, hand puppets, virtual assistants, and other interactive depictions of people and animals. Depictions as a class consist of (...)
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  35. Depiction.John Kulvicki - 2014 - In Michael Kelly, Oxford Encyclopedia of Aesthetics, second edition. Oxford University Press. pp. Volume 2, 322-326.
     
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  36.  98
    Depiction and Convention.John G. Bennett - 1974 - The Monist 58 (2):255-268.
    Nelson Goodman has provided one of the most exciting advances in semiotic aesthetics in years in his recent book, Languages of Art. Among other theses that Goodman defends is the claim that pictures are elements of symbol systems to be understood in the way that languages are understood: that depiction and description are species of a common genus which is to be understood in terms of denotation. One of the consequences Goodman draws from his theory is that depiction (...)
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  37. Neural depictions of "world" and "self": Bringing computational understanding into the chinese room.Igor L. Aleksander - 2002 - In John Mark Bishop & John Preston, Views Into the Chinese Room: New Essays on Searle and Artificial Intelligence. London: Oxford University Press.
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  38.  26
    Depicting as a method of communication.Herbert H. Clark - 2016 - Psychological Review 123 (3):324-347.
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  39.  27
    Depiction, Vision, and Convention.Patrick Maynard - 1972 - American Philosophical Quarterly 9 (3):243 - 250.
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  40. Depiction Verbs and the Definiteness Effect.Graeme Forbes - unknown
    This paper is part of a longer project on the semantics of depiction verbs and their associated relational nouns. Depiction verbs include verbs for physical acts, such as ‘draw’ (with relational noun ‘drawing’), ‘sketch’, ‘caricature’, ‘sculpt’, ‘write (about)’, and verbs for mental ones, such as ‘visualize’, ‘imagine’, and ‘fantasize’.
     
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  41. Depiction of the Ideal Garden in "Standing Screen of Flowers and Birds of the Four Seasons" by KANO Motonobu from the collection of Hakutsuru Museum of Art: Focusing on the Elements of Pure Land and Actual Gardens.Yuki Shimada - 2005 - Bigaku 56 (3):15-28.
    The standing screens on the title is the oldest work extant of KANO Motonobu's work as folding screens of thick colored flowers and birds with golden background. This thesis designates that the scenery and the motif of the work are in correspondence with both descriptions of the scenery of Pure Land in several Buddhist scriptures and the design of actual gardens. Firstly, a peacock on the right hand screen is focused to indicate the bird connotes the elements of auspicious birds (...)
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  42. Directly depicting granular ontologies.Thomas Bittner & Barry Smith - 2004 - In Thomas Bittner & Barry Smith, Directly depicting granular ontologies. pp. 117--151.
    Published in extended form as "Endurants and Perdurants in Directly Depicting Ontologies", -/- We propose an ontological theory that is powerful enough to describe both complex spatio-temporal processes and the enduring entities that participate in such processes. For this purpose we distinguish between ontologies and metaontology. Ontologies are based on very simple directly depicting languages and fall into two major categories: ontologies of type SPAN and ontologies of type SNAP. These represent two complementary perspectives on reality and result in distinct (...)
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  43.  26
    Depicting teachers' roles in social reconstruction in the social frontier, 1934–1943.Sonia E. Murrow - 2011 - Educational Theory 61 (3):311-333.
    According to the dominant historiographical narrative, the social reconstructionists were a homogeneous group with a shared social, political, economic, and educational agenda. However, the pages of the journal The Social Frontier are replete with evidence that they were not in agreement on significant issues, especially when it came to the proper role of teachers in reform efforts. In fact, a close look reveals that the social reconstructionists presented multiple, overlapping, and often conflicting theories and strategies to advance the reconstruction of (...)
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  44. Depicting Human Form.Clare Mac Cumhaill - 2020 - Royal Institute of Philosophy Supplement 87:151-167.
    This paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness, though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged for (...)
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  45. (1 other version)Depictive seeing and double content.John Dilworth - 2010 - In Catharine Abell & Katerina Bantinaki, Philosophical Perspectives on Picturing. Oxford University Press.
    A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable (...)
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  46.  63
    Depictions of 'brain death' in the media: medical and ethical implications.Ariane Daoust & Eric Racine - 2014 - Journal of Medical Ethics 40 (4):253-259.
    Background Debates and controversies have shaped the understanding and the practices related to death determined by neurological criterion . Confusion about DNC in the public domain could undermine this notion. This confusion could further jeopardise confidence in rigorous death determination procedures, and raise questions about the integrity, sustainability, and legitimacy of modern organ donation practices.Objective We examined the depictions of ‘brain death’ in major American and Canadian print media to gain insights into possible common sources of confusion about DNC and (...)
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  47. Seeing depicted space (or not).Mikael Pettersson - 2018 - In Anna Bergqvist & Robert Cowan, Evaluative Perception. Oxford, United Kingdom: Oxford University Press.
    What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim’s term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look.’ In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it (...)
     
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  48.  39
    Depictions as surrogates for places: From Wallace's biogeography to Koch's dioramas.Julia Voss & Sahotra Sarkar - 2003 - Philosophy and Geography 6 (1):59 – 81.
    Habitat dioramas depicting ecological relations between organisms and their natural environments have become the preferred mode of museum display in most natural history museums in North America and Europe. Dioramas emerged in the late nineteenth century as an alternative mode of museum installation from taxonomically arranged cases. We suggest that this change was closely connected to the emergence of a biogeographical framework rooted in evolutionary theory and positing the existence of distinct biogeographical zones. We tie the history of dioramas to (...)
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  49.  17
    (1 other version)The Depictive Nature of Visual Mental Imagery.Norman Yujen Teng - 1998 - The Paideia Archive: Twentieth World Congress of Philosophy 35:221-227.
    Tye argues that visual mental images have their contents encoded in topographically organized regions of the visual cortex, which support depictive representations; therefore, visual mental images rely at least in part on depictive representations. This argument, I contend, does not support its conclusion. I propose that we divide the problem about the depictive nature of mental imagery into two parts: one concerns the format of image representation and the other the conditions by virtue of which a representation becomes a depictive (...)
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  50.  31
    The Depictive Image: Metaphor and Literary Experience.Phillip Stambovsky - 1988 - University of Massachusetts Press.
    In scholarly writing on metaphor, there is a great gap between literary theory and critical practice. Phillip Stambovsky here attempts to close that gap by presenting a theory of literary metaphor that is grounded in actual literary experience. Stambovsky begins by critically reviewing the most well-known and influential theories of metaphor, including those based on notions of comparison, substitution, transfer, analogy, semantic interaction, and context. He then introduces a phenomenology of literary experience, drawning from the writings of Whitehead, Cassirer, Merleau-Ponty, (...)
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