•  3
    Review of Richard Bolton (ed.), The Contest of Meaning: Critical Histories of Photography
    Journal of Aesthetics and Art Criticism 50 (1): 68-71. 1992.
    Editor's errata: Journal of Aesthetics and Art Criticism 52.2 (Spring 1994): 167.
  • Drawing, Painting, and Print-Making
    In Stephen Davies, Kathleen Marie Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics, Wiley. 2009.
    A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.
  •  34
    Seeing double
    Journal of Aesthetics and Art Criticism 52 (2): 155-167. 1994.
  •  49
    ‘Neuroaesthetics’, Gombrich, and Depiction
    British Journal of Aesthetics 56 (2): 191-201. 2016.
    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 episte…Read more
  • The Time It Takes
    In Jan Baetens (ed.), The Graphic Novel, Leuven University Press. 2001.
    Concerns photography and time as duration, sequence, equability, past and present (illus.).
  •  2
    Photography and Technology
    In Michael Kelly (ed.), Encyclopedia of Aesthetics, v. 3, Oxford University Press. 2014.
    Extensive revision of 1998 entry (for expanded new edition of Encyclopedia of Aesthetics) to include, besides mini-essays on technology, art, depiction and the aesthetic, a development of the last in terms of facture--the materials of a work and their working there, as perceivable in the work.
  •  28
    Wayfinding: Notes on the ‘Public’ as Interactive
    Review of Philosophy and Psychology 6 (1): 27-48. 2015.
    “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 the…Read more
  •  13
    Professor Gass's transformations
    Journal of Philosophy 73 (19): 742-743. 1976.
  •  21
    Depiction, Vision, and Convention
    American Philosophical Quarterly 9 (3). 1972.
  •  3
    Form
    In The Grove Dictionary of Art, Macmillan. 1996.
    'Doing an Aristotle' on Form: a highly compressed attempt to explain what we mean by the ambiguous term "form" in visual arts.
  •  107
    The secular icon: Photography and the functions of images
    Journal of Aesthetics and Art Criticism 42 (2): 155-169. 1983.
    '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 Jap…Read more
  •  17
    On Art and the Mind
    Philosophical Review 86 (1): 125. 1977.
  • What's So Funny? Comic Content in Depiction
    In Roy Aaron Cook Meskin (ed.), The Art of Comics: A Philosophical Approach, Wiley-blackwell. 2012.
    This paper addresses standard questions regarding comics and the arts (comics and fine arts, image and word combinations), then poses and addresses the neglected, but deeper and wider--thus philosophical--question, of how depictions, not just words, can have mental contents at all, including light, funny, scathing, comic ones.
  • Review of Flint Schier, Deeper into Pictures (review)
    Word and Image 3 (4): 325-326. 1987.
  •  37
    In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 1-26 [Access article in PDF] "What Will Surprise You Most": Self-Regulating Systems and Problems of Correct Use in Plato's Republic Patrick Maynard University of Western Ontario 1. Republic's Third Wave: "On Philosophers" The title of this paper is taken from a line in Book VI of Plato's Republic that appears to reject not only the accounts of moral justice and other virtues argued in …Read more
  •  1
    Can Seeing Be an Art, Really?
    Source (Belfast) 53 48-51. 2007.
    Joint interview, with Kendall Walton, by Richard West
  •  30
    Perspective's places
    Journal of Aesthetics and Art Criticism 54 (1): 23-40. 1996.
  •  20
    Introduction to Perspectives on the Arts and Technology
    Journal of Aesthetics and Art Criticism 55 (2): 95-106. 1997.
  •  2
    Combining ideas of perceptual psychologists J.J. Gibson and J.E. Cutting, moving on to answer the arguments of the "Naysayers" against autonomous and artistic meaning in photographs.