There is a popular view on depiction which holds that convincingly realistic paintings depict their subjects through evoking in the spectator the illusion of seeing these very subjects face to face. There is, as it were, an exact 'match' between the visual experience of seeing something in a picture and the corresponding visual experience one would entertain if one were to stand in front of the real thing. This view, which we shall call 'illusionism', supports the widespread assumption that some (...) kinds of pictures -- notably post-Renaissance perspective paintings -- provide the correct, 'natural' way to depict physical space because they capture the way the visual system enables one to see the world. The most notable defence of illusionism has been offered by Ernst Gombrich. In his Art and Illusion, Gombrich (1960) argues that the development of Western art consists in a series of discoveries about the nature of visual perception that eventually lead to pictorial techniques that are able to elicit illusionary visual experiences on part of the spectator and thus reach the perfection of naturalistic representation. (shrink)

Has art still something to do with aesthetics? Traditional aesthetic theories were abandoned under influence of the arguments of Morris Weitz. It seems that there is no longer a place for aesthetics in the philosophy of art. Furthermore, a lot of contemporary art seems to be radically anti-aesthetic. It is argued that there is nonetheless a central role to be played for aesthetic experience in art.

What is the Role of Mental Imagery in Perception? A Defense of the Continuity Thesis What is the nature of the mental image, and which role does mental imagery play in perception? According to David Hume and Immanuel Kant, the capacity to form images lends a constitutive contribution to our perception of the world. Both philosophers portray the imagination as a unifying power that connects perceptions of different objects of the same kind, and that connects different perceptions of the same (...) object. I shall call this view the continuity thesis. Since the beginning of the 20th century the continuity thesis is heavily under attack. Jean-Paul Sartre and Ludwig Wittgenstein emphasize the conceptual and phenomenological distinction between perception and mental imagery. These philosophers are sceptical about the important psychological and epistemological role that is traditionally attributed to imagery. The central target of critique against the continuity thesis is primarily the Humean view that mental images, however complex, can be traced back to pictures or ‘copies’ of sense impressions. It will be argued that the sceptics about mental imagery, even though they justifiably attack pictorialism, have no grounds to dismiss the continuity thesis. Then I shall discuss the reassessment of the mental image with the rise of cognitive science since the 1970s, and I shall argue that the continuity thesis is supported by the so-called ‘enactive’ theory of mental imagery. (shrink)