Patrick Maynard

Fifty years ago Ernst Gombrich’s Art and Illusion revolutionized philosophical and scientific study of visual representation by thoughtful -application of research from the modern vision sciences. Since then those sciences – recently including neuroscience – have greatly developed, and it is now common to attempt direct translation of their findings to depiction, even treating its perception as a branch of visual perception.Unfortunately, rather than advancing Gombrich’s project, many of these applications – often reductive in nature – involve elementary logical fallacies. These fallacies are mostly due to overlooking Gombrich’s main idea, that image makers – like other technologists – use natural principles for their own purposes, and that their first purpose is to make artifacts, which are perceived as such. With better context, it should be possible to find more constructive directions for recent cognitive research, related to drawing.

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something.

Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the fuller account of agency lacking in such discussions. But fine art is not the only value classification we use.

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html

For philosophical readers, a review of biology Nobel laureate Eric R. Kandel’s Age of Insight historical thesis, that today’s ‘neuroaesthetics’ is a continuation of Vienna’s great contributions to modernism from 1900 on, becomes a ‘critical study’, by closely examining Kandel’s valuable account of E.H. Gombrich’s psychology, then, broadly, his own case for the validity of ‘neuroaesthetics’. The article much credits Kandel for recognising and explaining—unlike most philosophers, with their epistemological and metaphysical perspectives—why Gombrich’s Art and Illusion is subtitled ‘Psychology’, since it is about what its author termed throughout ‘convincing’ depiction. But, while holding that Kandel’s case for ‘neuroaesthetics’ is, at least in tone, superior to Ramachandran’s, the study broadens still further into a critical examination of it, with at first standard—since Aristotle—arguments against reductivism, as a materialism that neglects first formal then final causes or purposes. Original to the critique is an additional argument, that so-called ‘neuroaesthetics’ is not only inconsistent with the ‘reductionist’—not reductivist—principles of Kandel’s own science, as explained in his earlier account of them, In Search of Memory, but also contradicts a basic Darwinian principle underlying all modern biology, that genuine novelty can arise from rearrangement of older materials. The conclusion is that although neuroscience may make important contributions to aesthetics and appreciation, there is as yet no basis for holding that it could produce an aesthetics.

“Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. The styles of the two halves contrast, that of the first being an inductive mapping of neglected conceptual terrain of directive representations, that of the second linear: a continuous argument in answer to a question regarding descriptive spatial representation in the digital age. The common thread is the public as users of all such cognitive artifacts, and this use as interactive, with a range of implications for social collectivity

'Photo-credit: David Hume': a dialogue showing how application of Hume's three vivacity principles of resemblance, contiguity and causation--even his illustrations of them--not only immediately clarify the main sources of interest in photography, but locate photography in the broad and fascinating history of various functions that images serve us, thereby dispelling ongoing mystification about it. (In the dialogue, Veronica represents our contiguity and causal interests, Miranda [named for a Japanese camera company] our depictive ('resemblance') interests, while Clara serves as philosophical moderator.)