A Syncretistic Theory of Depiction by A. Voltolini

By A. Voltolini

What's depiction? a brand new resolution is given to this venerable query via supplying a syncretistic thought of depiction that attempts to mix the benefits of the former theories at the topic whereas shedding their defects. therefore, not just perceptual, but in addition either traditional and causal components give a contribution in making whatever an image of anything else.

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Conventionally or causally). For their criteria of figurativity (on which I shall focus in the next chapter) do not place any restrictions on this concern. To them, their definitions strictly agree with the way the aforementioned rough definition is articulated. They indeed provide definitions of depiction in terms of two utterly disjointed necessary (and jointly sufficient) conditions: to them, what accounts for the figurativity of the picture and what accounts for its intentionality are two utterly different things.

According to Haugeland, such a distinction holds true for any kind of representational system, yet in a different way for each system individually. In the case of a pictorial representation, the fleshed out content, for Haugeland, is more or less what I have called pictorial content: it is what the representation represents to a competent spectator. 47 Armed with this distinction in content, Kulvicki may well say that the bare bones content is the kind of content that supervenes on the syntactic identity of a pictorial representation.

In the context of watching Alan Parker’s Evita, a snapshot of the popstar Madonna functions as a picture of Evita Peron; caused by Madonna, the snapshot has no causal relationship with Evita. 10 The opposite may also occur, when one and the same item works as a transparent picture of a certain subject within a filmic context and as an opaque picture of Semiotic Theories of Depiction 27 another subject outside of that context. 11 Finally, let us consider examples of perceptually ambiguous pictures.

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