Beyond Resemblance

Greenberg, Gabriel

doi:10.1215/00318108-1963716

Cited by 56 publications

(49 citation statements)

References 40 publications

(30 reference statements)

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“…These vague ideas have in turn been analyzed in terms of likeness, resemblance, isomorphism, or transformation (e.g. Peirce 1906, French 2003, Abell 2009, Greenberg 2013. Though iconicity seems to be a fundamental representational kind, its precise nature remains the subject of open and active inquiry.…”

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confidence: 99%

Introduction: Varieties of Iconicity

Giardino

Greenberg

2014

Rev.Phil.Psych.

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This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow. Types of IconicityAs early as 1868, Charles S. Peirce distinguished between at least two basic kinds of sign: symbols and icons. 1 As we shall understand these categories, SYMBOLIC 1 We use Peirce's taxonomy as the point of departure for our own, but we don't aspire to exegetical accuracy. In fact, Peirce famously distinguished up to three kinds of sign, including not only symbols and icons, but also indices. To simplify our presentation, we will only discuss the first two. Moreover, in 1868, Peirce used the term "likeness" instead of "icon", but later changed his terminology. V. Giardino ( )

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Introduction: Varieties of Iconicity

Giardino

Greenberg

2014

Rev.Phil.Psych.

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“…"Iconicity of sequence" describes cases where "the sequence of forms conforms to the sequence of experience" (Perniss & Vigliocco 2014: 10). For pictorial representation, the significance of resemblance is challenged by Greenberg (2013), crediting instead the view of depiction as geometrical transformation (e.g., Hagen 1986). Transformations of representations, pictorial and otherwise, lead to "the mystery of deduction" (Shin 2015) for sufficiently complex transformations of representations of the premise to representations of the conclusion.…”

Section: Iconicity Sequence Transformation and Representationmentioning

confidence: 99%

Pictorial Narratives and Temporal Refinement

Fernando

2019

SALT

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Refinements are proposed to the default reading of two successive pictures p, p as p and then p . The refinements are based on the Aristotelian dictum, no time without change, and the principle of inertia, no change without force, guided by the adage, a picture's worth a thousand words. Words describing pictures are formalized as predicates, some stative and some non-stative (expressing forces), and interpreted (in either case) over strings qua models, subject to finite-state projections supporting variable granularity. A form of string iconicity is explored, with an eye to more transparent representations.

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“…One approach, suggested by Goodman (1968: Chapter 1), Kjørup (1978: 57), and Hyman (2012: 138-140), holds that that all attributive content is determined by Much of the literature on depiction can be understood as offering accounts of the way in which pictures express their contents. For example, recent work on the resemblance theory (Neander 1987;Abell 2009;Blumson 2014), structural approaches to depiction (Hyman 2006;Kulvicki 2006;Greenberg 2013) and perceptual or experiential theories (Peacocke 1987;Lopes 1996;Hopkins 1998;Newall 2011) all take aim at the same core problem: what constraints guide the mapping from picture to the content it expresses? In this essay I sidestep this important debate by simply assuming that pictures express their contents in one way or another.…”

Section: Picture Ementioning

confidence: 99%

Content and Target in Pictorial Representation

Greenberg¹

2018

Ergo, an Open Access Journal of Philosophy

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Truth, or accuracy, is widely thought to be the centerpiece of any formal theory of meaning, at least in the study of language. This paper argues for a theory of pictorial accuracy, with attention to the relationship between accuracy and pictorial content. 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. Such a picture is accurate when the content it expresses fits the target scene it aims at. 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. For a picture to be accurate, both aspects must be matched in the target. 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. 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.

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Beyond Resemblance

Cited by 56 publications

References 40 publications

Introduction: Varieties of Iconicity

Introduction: Varieties of Iconicity

Pictorial Narratives and Temporal Refinement

Content and Target in Pictorial Representation

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