By Dominic McIver Lopes
Publish yr note: First released in 2005
Images have power--for solid or unwell. they could problem us to work out issues anew and, in widening our event, profoundly swap who we're. The swap should be grotesque, as with propaganda, or enriching, as with many artworks.
Sight and Sensibility explores the effect of pictures on what we all know, how we see, and the ethical tests we make. Dominic Lopes exhibits how those are a part of, no longer cut loose, the classy allure of pictures. His publication might be crucial analyzing for somebody operating in aesthetics and artwork concept, and for all these intrigued by way of the facility of pictures to impact our lives.
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Additional resources for Sight and Sensibility: Evaluating Pictures
In addition, tactile pictures prompt speculation about the aesthetic evaluation of pictures. If visual pictures are evaluated for their visual features, then tactile pictures may be evaluated for their tactile features. In so far as the two sets of features are not coextensive, there are two classes of pictorial evaluation—the tactile and the visual. When the two classes overlap, some features may be more salient in one modality than the other—textures are more salient in touch than vision, for example.
The mimesis thesis can accommodate this suggestion because it is neutral about sense modality. In addition, tactile pictures prompt speculation about the aesthetic evaluation of pictures. If visual pictures are evaluated for their visual features, then tactile pictures may be evaluated for their tactile features. In so far as the two sets of features are not coextensive, there are two classes of pictorial evaluation—the tactile and the visual. When the two classes overlap, some features may be more salient in one modality than the other—textures are more salient in touch than vision, for example.
By virtue of its being an immediate image, that is to say by virtue of characters which belong to it in itself as a sensible object, and which it would possess just the same were there no object in nature that it resembled . . it simply happens that its qualities resemble those of the object. (1931: 447) A picture depicts a bowl of ﬂowers because its design resembles a bowl of ﬂowers. Fatal difﬁculties have made resemblance theories historical curiosities. What is important to note is that, if the mimesis thesis is correct, a resemblance obtains between (1) the scene-presenting experiences a picture elicits and (2) experiences of the picture’s subject in the ﬂesh.