•  3
    What's So Funny? Comic Content in Depiction
    In Dominic McIver Lopes, Berys Gaut, Aaron Meskin & Roy T. Cook (eds.), The Art of Comics, Wiley‐blackwell. 2012.
    This chapter contains sections titled: Where are the Funnies? Writing Images, Drawing Words Without Words Just Looking Where's the Fun? “What's That For?” Arts and Artifacts Notes References.
  •  161
    Aesthetics (edited book)
    Oxford University Press. 1997.
    Can we ever claim to understand a work of art or be objective about it? Why have cultures thought it important to separate out a group of objects and call them art? What does aesthetics contribute to our understanding of the natural landscape? Are the concepts of art and the aesthetic elitist? Addressing these and other issues in aesthetics, this important new Oxford Reader includes articles by authors ranging from Aristotle and Xie-He to Jun'ichiro Tanizaki, Michael Baxandall, and Susan Sontag.…Read more
  •  11
    Interpretation: A General Theory (review)
    Philosophical Review 77 (1): 106-109. 1968.
  •  10
    "If our procedure is to work steadily in the direction of drawing as fine art, rather than beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of different cultures.…Read more
  •  14
    Recovery and original English translation, with commentary and notes on metaphysical references, of parodic 1902 letter by Miguel de Unamumo, supporting the view that he was a crucial figure in the transformation of isolated, traditional, cultural practices of paperfolding into the modern, international, autonomous, minor artform postwar termed 'origami'.
  •  55
    The Science of Art: Optical Themes in Western Art from Brunelleschi to SeuratPerspective as Symbolic Form
    with Martin Kemp, Erwin Panofsky, and Christopher S. Wood
    Journal of Aesthetics and Art Criticism 52 (2): 243. 1994.
  •  10
    Real ImaginingsMemesis As Make-Believe
    Philosophy and Phenomenological Research 51 (2): 389. 1991.
  •  30
    Real Imaginings (review)
    Philosophy and Phenomenological Research 51 (2): 389. 1991.
  • A Study of Depiction
    Dissertation, Cornell University. 1970.
  •  20
    Conceptual change (edited book)
    with Glenn Pearce
    D. Reidel. 1973.
    During Hallowe'en of 1970, the Department of Philosophy of the Univer sity of Western Ontario held its annual fall colloquium at London, On tario. The general topic of the sessions that year was conceptual change. The thirteen papers composing this volume stem more or less directly from those meetings; six of them are printed here virtually as delivered, while the remaining seven were subsequently written by invitation. The programme of the colloquium was to have consisted of major papers delive…Read more
  •  2
    Forms of representation: proceedings of the 1972 Philosophy Colloquium of the University of Western Ontario (edited book)
    with B. Freed and Ausonio Marras
    American Elsevier Pub. Co.. 1975.
  •  56
    Talbot’S Technologies: Photographic Depiction, Detection, and Reproduction
    Journal of Aesthetics and Art Criticism 47 (3): 263-276. 1989.
    Philosophy's only celebration of photography's 150th, the long-neglected philosophical job of clarification: drawing basic distinctions and defining basic conceptions, including photographic depiction, photographic detection, 'photograph of', 'documentary'. More than a lexicon, it explains why photography is important, by historically characterizing it through its uses for depiction, detection, reproduction, all of which have shaped the modern world. By consideration of it as 'mechanical', the…Read more
  •  1
    Images: Five Questions
    In Aud Sissel Hoel (ed.), Images: Five Questions, Vince Inc Press. 2015.
  •  3
    Photography
    In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics, Routledge. 2000.
  •  75
    Arts, Agents, Artifacts: Photography's Automatisms
    Critical Inquiry 38 (4): 727-745. 2012.
    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 e…Read more
  •  63
    Drawing and shooting: Causality in depiction
    Journal of Aesthetics and Art Criticism 44 (2): 115-129. 1985.
  •  10
  •  48
    Working light
    Philosophy of Photography 1 (1): 29-34. 2010.
  •  1
    Pictures of Perspective: Theory or Therapy?
    In Margaret Atherton Heiko Hecht & Robert Schwartz (eds.), Looking into Pictures, . 2003.
    From a perceptual psychology and philosophy conference on linear perspective: points out standard fallacies about perspective, then challenges psychology's and philosophy's widespread assumption that a satisfactory understanding of depiction in any medium can be reached via theories of spatial--or any other kind of--visual perception.
  •  36
    Review of Hubert Damisch, The Origin of Perspective (review)
    Journal of Aesthetics and Art Criticism 55 (1). 1997.
  •  70
    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, Br…Read more
  •  106
    First ever philosophy treatise on photography, analytic in approach but sensitive to photo-history, not confined to aesthetics or art (illus.), Walker Evans photo on cover. Papercover printing, Dec. 2000.
  • Review of David Rosand, Drawing Acts: Studies in Graphic Expression and Representation (review)
    Journal of Aesthetics and Art Criticism 63 (1): 81-82. 2005.
  •  18
    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 a…Read more
  • Photo-Opportunity
    Canadian Review of American Studies 22 (3): 501-528. 1991.
    Review of literature and independent essay on the 1989 sesquicentennial of photography, winner of Canadian Association for American Studies 1991 award for paper that "best exemplifies the discipline of American Studies".
  •  107
    Portraits as displays
    Philosophical Studies 135 (1). 2007.
    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. F…Read more
  •  42
    Drawing Distinctions I
    Philosophical Topics 25 (1): 231-253. 1997.
    Introduces philosophers to John Willats' effective new drawing systems vocabulary for describing drawings and related images, also stresses topological-space values in pictures, vs psychology's projective tendencies (illus).