A Syncretistic Theory of Depiction

What is depiction? This is a venerable question that has received many different answers throughout the whole history of philosophy, especially in contemporary times. A Syncretistic Theory of Depiction elaborates a new account on this matter by providing a theory of depiction that tries to combine the merits of the previous theories while dropping their defects. It is argued that a picture is a representation in a pictorial or figurative mode, and its 'figurativity' is given by a special perception, perceiving-in, whose nature is reconceived. Such a perception inter alia grasps some properties which the picture's vehicle has in common with what is perceived in it; by so doing, that perception provides the picture with a figurative content. In contrast, the picture's representational value, its subject or its pictorial content, is given by a conventionally or causally based selection out of that figurative content.

Alberto Voltolini (PhD Scuola Normale Superiore, Pisa 1989) is a philosopher of language and mind whose works have focused mainly on fiction, intentionality, depiction, and Wittgenstein. Currently Professor in Philosophy of Mind at the University of Turin (Italy), Voltolini has previously held scholarships at the Universities of Geneva and Sussex and has been visiting professor at the Universities of California, Riverside (1998), Auckland and Australian National University, Canberra (2007), Barcelona (2010). Voltolini has also been a member of the Steering Committee of the European Society for Analytic Philosophy (2002-2008) and of the Board of the European Society for Philosophy and Psychology (2009-2012). His publications include How Ficta Follow Fiction (Springer, 2006) as well as the 'Fiction' entry (with F. Kroon) in the Stanford Encyclopaedia of Philosophy.

PART I: WHAT IS ALIVE AND WHAT IS DEAD IN PREVIOUS THEORIES OF DEPICTION
Depictions Aka Pictures, i.e, Pictorial Representations
1. Depictions, Or Pictures
2. The Syncretistic Approach
Semiotic Theories Of Depiction
1. Goodman's Theory
2. Kulvicki's Theory
Resemblance Theories Of Depiction
1. Objective Resemblance Theories: The Simple And Fancy Versions
2. Objective Resemblance Theories: The Sophisticated And Real Versions
3. Subjective Resemblance Theories: The 'Double Experience'- Versions
4. Subjective Resemblance Theories: The 'Experience Of Similarity'- Versions
Seeing-In, Seeing-As, Recognition And Make-Believe Theories Of Depiction
1. Wollheim's Theory Of Seeing-In
2. Gombrich's Theory Of Seeing-As
3. Seeing-In Includes Seeing-As
4. Is Seeing-In Necessary For Figurativity?(I)
5. The Recognitional Theory
6. Is Seeing-In Necessary For Figurativity?(II)
7. Where Are We Now?
More On Seeing-In
1. The Nature Of Seeing-In
2. The Content Of The Recognitional Fold Is The Picture's Figurative Content
3. The Content Of Seeing-In
4. The Mode Of Seeing-In
PART II: THE SYNCRETISTIC THEORY
The Syncretistic Theory: A General Survey
1. Grouping Properties
2. The Emergence Of The Known Illusion
3. The Conceptual Character Of The Recognitional Fold
4. Objective Resemblance Comes Back From The Rear Door
5. The Core Of The Syncretistic Theory
Applications, Consequences And Integrations Of The Theory
1. Depiction And Sculptures
2. Actual Or Counterfactual Resemblance
3. Pictures In Other Sensory Modalities
Defending The Syncretistic Theory
1. Is The Syncretistic Theory Correct?
2. The Adequacy Conditions
3. Impossible Pictures?
Bibliography