Then, in Section 3, I’ll argue from cases that target scenes are independent of pictorial contents. Section 2 refines the key definition of accuracy and defends the assumption that accuracy depends a contextually selected target scene. In Section 1, I introduce the the Three-Part Model. Though previous work on depiction has not recognized the distinctive role played by target, I will argue that it is essential in order to make sense of accuracy judgements across a range of central cases.
I call this the Three-Part Model because it distinguishes between the triad of factors, singular content, attributive content, and target, which together determine pictorial accuracy. For a picture to be accurate, both aspects must be matched in the target. In addition, the model follows the traditional division of content into two aspects: singular content specifies the particular individuals which a picture is of, and attributive content specifies the properties and relations which the picture ascribes to those individuals. Such a picture is accurate when the content it expresses fits the target scene it aims at. Focusing on cases where pictures are intended to convey accurate information, the model distinguishes between two fundamental representational relations: on one hand, a picture expresses a content on the other, it aims at a target scene. This essay argues for a model of pictorial representation which aims to explain the relationship between pictorial content and pictorial accuracy.
#PICTORIAL FORM SERIES#
Through close examination of a series of cases, I argue that each component of this model is essential in order to make sense of pictorial accuracy across a range of cases. I call this the Three-Part Model, because it distinguishes between a triad of factors- singular content, attributive content, and target- which together determine pictorial accuracy. In addition, content is thought to divide into two aspects: singular content specifies the particular individuals which a picture is of, and attributive content specifies the properties and relations which the picture ascribes to those individuals. Focusing on cases where pictures are intended to convey accurate information, the theory distinguishes between two fundamental representational relations: on one hand, a picture expresses a content on the other, it aims at a target scene.
This paper argues for a theory of pictorial accuracy, with attention to the relationship between accuracy and pictorial content.
Artists, illustrators, and others will find them still powerful as one of the landmarks of applied art.Truth, or accuracy, is widely thought to be the centerpiece of any formal theory of meaning, at least in the study of language. In addition to being marvelous renderings, these plates have long been noted for the peculiar emotional appeal that they have for most viewers, a premonition of surrealism with exotic organic life forms stretching back to their roots in the inorganic, and individual details drawn with awareness of subtle evolutionary changes and millennia-long developments. With many drawings on each plate, each carefully drawn from nature, the subtle details of nature's art forms are easily compared and appreciated. The Kunstformen contains 100 beautiful lithographic plates which show a multitude of unusual life forms: Radiolaria, Foraminifera, and other forms of microscopic life jellyfishes, starfishes, calcareous sponges, star corals, barnacles, and other sea life mosses, lichens, red algae, ferns, fungi, orchids, and other plants and turtles, moths, spiders, bats, frogs, lizards, hummingbirds, and antelope. These are the remarkable plates with which his work was illustrated, particularly his famous Kunstformen. Today, although no one is greatly interested in Haeckel the biologist-philosopher, his work is increasingly prized for something he himself would probably have considered secondary. His work was credited with having caused the acceptance of Darwinism in Europe, and his popular studies preaching the continuity of all life, organic and inorganic, from prehistoric time to the present converted tens of thousands of readers all over the world. Ernst Heinrich Haeckel (1834-1919) was renowned as one of the foremost early exponents of Darwinism.
0 kommentar(er)
