Whether it was the demands of life, leisure, or a combination of
both that forced our hands, we have developed a myriad of
artifacts--maps, notes, descriptions, diagrams, flow-charts,
photographs, paintings, and prints--that stand for other things.
Most agree that images and their close relatives are special
because, in some sense, they look like what they are about. This
simple claim is the starting point for most philosophical
investigations into the nature of depiction.
On Images, by contrast, argues that what it is to be a picture
does not fundamentally concern how such representations can be
perceived. What matters is not how we perceive representations but
how they relate to one another. This kind of approach, first
championed by Nelson Goodman in his Languages of Art, has not found
many supporters, in part because of weaknesses with Goodman's
account. On Images shows that a properly crafted structural account
of pictures has many advantages over the perceptual accounts that
dominate the literature on this topic. In particular, it explains
the close relationship between pictures, diagrams, graphs and other
kinds of non-linguistic representation. Kulvicki undermines the
claim that pictures are essentially visual by showing how many
kinds of non-visual representations, including audio recordings and
tactile line drawings, are genuinely pictorial. Part Two shows that
the structural account of depiction can help to explain why
pictures seem so perceptually special, rather than taking that fact
for granted. Based on these results, Part Three provides a new
account of pictorial realism.
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