Epistémé in the Direct Representation: Intentionality, Causality, Reference

Vol.15,No.1(2014)

Barbora Kundračíková

https://doi.org/10.5817/pf15-1-720

PDF (Czech)
Abstract
The subject of a study is a general issue of the relationship between the image and its referent, respectively between referent of the image, the image itself and its recipient. If a painting is fundamentally intentional in the sense that its referent display depends on the agent of this painting and his beliefs, and if a photograph is principally causal in the sense that the intentions of the agent are projected into the relationship between the referent and the image only at the technological level, these are two types of images, assuming a different way of perception and interpretation. Is it so? And is it so necessarily? The example of an icon as borderline type of image shows that a photograph has at least the potential to achieve similar level of psychological illusion of a painting. If so, it is perhaps reasonable to assume that the photographic image is able to attain the fictional effect comparable to the effect of a painting. The study aims to further explore this assumption with regard to the epistemological framework.

Keywords:
photography; Icon; Epistémé; Depiction; Causality; Intentionality; Scruton; Walton; Benjamin
References

Barasch, Moshe. Icon. Studies in the History of an Idea. New York : New York University Press, 1992.

Bartlová, Milena. Skutečná přítomnost: Středověký obraz mezi ikonou a virtuální realitou. Praha : Argo, 2012.

Benjamin, Walter. Malé dějiny fotografie. In.: Císař, Karel (ed.). Co je to fotografie? Praha: Hermann & synové, 2009, s. 9-19.

Benjamin, Walter. Umělecké dílo ve věku své technické reprodukovatelnosti. In.: Grebeníčková, Růžena (ed.). Dílo a jeho zdroj. Praha : Odeon, 1979, s. 17-47.

Brunet, Francois. ‚A better example is a photograph.‘: On the Exemplary Value of Photographs in C. S. Pierce’s Reflection on Signs. In.: Kelsey, Robin; Stimson, Blake (eds.). The Meaning of Photography. Williamstown : Sterling and Francine Clark Art Institute, 2008, s. 34-49.

Carroll, Noël. The Philosophy of Mass Art. Oxford : Clarendon Press, 1990.

Cohen, Jonathan; Meskin, Aaron. On the Epistemic Value of Photographs. In.: The Journal of Aesthetics and Art Criticism, 2004/ 62 : 2, s. 197-210.

Frazer, James George. The Golden Bough. A Study in Magic and Religion. New York : The Macmillan Co., 1922.

Freedberg, David. Holy Images and Other Images. In.: The art of Interpreting. University Park 1995, s. 69-86.

Freeland, Cynthia. Photograph and Icons. In.: Walden, Scott (ed.). Photography and Philosophy. Essays on the Pencil of Nature. Chichester : Blackwell Publishing Ltd., 2010, s. 50-69.

Friday, Jonathan. Transparency and the Photographic Image. British Journal of Aesthetics, 1996/ 36:1, s. 30-42.

Friday, Jonathan. Demonic curiosity and the aesthetics of documentary photography. British Journal of Aesthetics, 2000/ 40:3, s. 356-375.

Friday, Jonathan. Photography and the Representation of Vision. The Journal of Aesthetics and Art Criticism, 2001/ 59: 4, s. 351-362.

Friday, Jonathan. André Bazin's Ontology of Photographic and Film Imagery. The Journal of Aesthetics and Art Criticism, 2005/ 63:4, s. 339-350.

Geertz, Clifford. Ethos, World View, and the Analysis of Sacred Symbol. In.: The Interpretation of Cultures. New York : Basic Books, 1993, s. 126-141.

Kelsey, Robin; Stimson, Blake (eds.). The Meaning of Photography. Williamstown : Sterling and Francine Clark Art Institute, 2008, s. 34-49.

Kemp, Martin. Christ to Coke. How Image Becomes Icon.Oxford : Oxford University Press, 2012.

Kris, Ernst; Kurz, Otto. Legenda o umělci. Historický pokus. Řevnice : Arbor vitae, 2008.

Maynard, Patrick. The Secular Icon: Photography and Function of Image. In.: The Journal of Aesthetics and Art Criticism, 1983/ 42 : 2, s. 155-169.

Maynard, Patrick. The Engine of Vizualization. Thinking through Photography. Ithaca and London : Cornell University Press, 1997.

Meskin, Aaron; Cohen, Jonathan. Photographs as Evidence. In.: Walden, Scott (ed.). Photography and Philosophy. Essays on the Pencil of Nature. Chichester : Blackwell Publishing Ltd., 2010, s. 70-90.

Petříček, Miroslav. Myšlení obrazem. Průvodce současným filosofickým myšlením pro středně pokročilé. Vyd. 1. Praha : Herrmann & synové, 2009.

Pierce, Charles S. Collected Papers. Vol. 2. Cambridge, MA : Harvard University Press, 1935.

Scruton, Roger. Fotografie a zobrazení. In: Estetické porozumění: Esej o filozofii, umění a kultuře. Brno: Barrister & Principal, 2005, s. 33-66. [Původně: Scruton, Roger. Photography and Representation. In.: Critical Inquiry, 1981, 7: 3, s. 577-603.]

Scruton, Roger. Fantazie, imaginace a film. In: Estetické porozumění: Esej o filozofii, umění a kultuře. Brno: Barrister & Principal, 2005, s. 67-79.

Walton, Kendall. Transparent Pictures: On the Nature of Photographic Realism. In.: Critical Inquiry, 1984/ 11, s. 246-¬277.

Walton, Kendall L. Mimesis as Make-Believe: On the Foundations of the Representational Arts. Cambridge, MA : Harvard University Press, 1990.

Metrics

0

Crossref logo

0

49

Views

15

PDF (Czech) views

Copyright © 0 Pro-Fil

PDF (Czech)