Catherine Elgin

The arts and the sciences perform many of the same cognitive functions, both serving to advance understanding. This paper explores some of the ways exemplification operates in the two fields. Both scientific experiments and works of art highlight, underscore, display, or convey some of their own features. They thereby focus attention on them, and make them available for examination and projection. Thus, the Michelson-Morley experiment exemplifies the constancy of the speed of light. Jackson Pollock's "Number One" exemplifies the viscosity of paint. Despite their similarities, science and art might seem to differ in their attitude toward facts. Science is said to adhere to facts; art, to be indifferent to them. Such, I urge, is not the case. Science, like art, often scorns fact to advance understanding through fiction. Thought experiments, I contend, are scientific fictions; literary and pictorial fictions, aesthetic thought experiments.

Nelson Goodman was one of the soaring figures of twentieth century philosophy. His work radically reshaped the subject, forcing fundamental reconceptions of philosophy’s problems, ends, and means. Goodman not only contributed to diverse fields, from philosophy of language to aesthetics, from philosophy of science to mereology, his works cut across these and other fields, revealing shared features and connecting links that narrowly focused philosophers overlook. That the author of The Structure of Appearance also wrote Languages of Art is not in the end surprising.

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.