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W3125449229 abstract "Previous articleNext article No AccessTransparent Pictures: On the Nature of Photographic RealismKendall L. WaltonKendall L. Walton Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 11, Number 2Dec., 1984 Article DOIhttps://doi.org/10.1086/448287 Views: 80Total views on this site Citations: 143Citations are reported from Crossref Copyright 1984 The University of ChicagoPDF download Crossref reports the following articles citing this article:Claire Anscomb Look a Little (Chuck) Closer: Aesthetic Attention and the Contact Phenomenon, The British Journal of Aesthetics 62, no.33 (Jul 2022): 475–492.https://doi.org/10.1093/aesthj/ayab050Dawn M Wilson V II—Reflecting , Registering , Recording and Representing : From Light Image to Photographic Picture, Proceedings of the Aristotelian Society 11 (Jul 2022).https://doi.org/10.1093/arisoc/aoac008Kane Baker Extended Cognition and Constructive Empiricism, Axiomathes (Jun 2022).https://doi.org/10.1007/s10516-022-09621-7Marie-Laure Ryan Media, genres, facts and truth: revisiting basic categories of narrative diversification, Neohelicon 49, no.11 (Jun 2021): 75–88.https://doi.org/10.1007/s11059-021-00587-wRaphaël Millière Deep learning and synthetic media, Synthese 200, no.33 (May 2022).https://doi.org/10.1007/s11229-022-03739-2Yuchen Guo The Esthetics of Cosplay, Fashion Theory 121 (Apr 2022): 1–20.https://doi.org/10.1080/1362704X.2022.2065783Glenn Parsons Appreciating Nature through Film, (Apr 2022): 69–85.https://doi.org/10.1002/9781119677154.ch3Solveig Aasen Real Likenesses. Representation in Paintings, Photographs and Novels , by Michael Morris, Mind 173 (Dec 2021).https://doi.org/10.1093/mind/fzab079Don Fallis The Epistemic Threat of Deepfakes, Philosophy & Technology 34, no.44 (Aug 2020): 623–643.https://doi.org/10.1007/s13347-020-00419-2Matthew Carlson Skepticism and the Digital Information Environment, SATS 22, no.22 (Jul 2021): 149–167.https://doi.org/10.1515/sats-2021-0008Neri Marsili Retweeting: its linguistic and epistemic value, Synthese 198, no.1111 (Jun 2020): 10457–10483.https://doi.org/10.1007/s11229-020-02731-yEnrico Terrone Seeing‐in and Singling Out: How to Reconcile Pictures with Singular Thought, Pacific Philosophical Quarterly 102, no.33 (Jun 2021): 378–392.https://doi.org/10.1111/papq.12366Alberto Voltolini Seeing in Mirrors, The Journal of Aesthetics and Art Criticism 79, no.33 (Jun 2021): 315–327.https://doi.org/10.1093/jaac/kpab021Yanai Toister Renegade Monkeys, Digital Creativity 32, no.33 (Aug 2021): 208–214.https://doi.org/10.1080/14626268.2021.1962914Katarzyna Weichert The Visual Power of Photography and Its Status as a Representation, JOLMA , no.11 (Jun 2021).https://doi.org/10.30687/Jolma/2723-9640/2021/01/011Morten Boeriis Emotive validity and the eye in the hand – Representing visual reality with digital technology, Discourse, Context & Media 41 (Jun 2021): 100498.https://doi.org/10.1016/j.dcm.2021.100498Anders Nes, Kristoffer Sundberg, Sebastian Watzl The perception/cognition distinction, Inquiry 121 (May 2021): 1–31.https://doi.org/10.1080/0020174X.2021.1926317Mohan Matthen Objects, seeing, and object-seeing, Synthese 198, no.44 (Jun 2019): 3265–3288.https://doi.org/10.1007/s11229-019-02279-6Afrooz Rafiee, Wilbert Spooren, José Sanders Framing similar issues differently: a cross-cultural discourse analysis of news images, Social Semiotics 14 (Mar 2021): 1–24.https://doi.org/10.1080/10350330.2021.1900719Vivian Mizrahi Seeing Through Photographs: Photography as a Transparent Visual Medium, The Journal of Aesthetics and Art Criticism 79, no.11 (Jan 2021): 52–63.https://doi.org/10.1093/jaac/kpaa009Jiri Benovsky Limits and Their Vagueness: The Case of Paintings and Photographs, (Aug 2020): 41–57.https://doi.org/10.1007/978-3-030-54795-0_4Koray Değirmenci Photographic Images in the Digital Era, (Oct 2021): 515–532.https://doi.org/10.1007/978-3-030-71830-5_31John Kulvicki Varieties of Transparency, (Oct 2021): 501–514.https://doi.org/10.1007/978-3-030-71830-5_30Joerg Fingerhut Twofoldness in Moving Images, Projections 14, no.33 (Dec 2020): 1–20.https://doi.org/10.3167/proj.2020.140302Michael Milona, Hichem Naar Sentimental perceptualism and the challenge from cognitive bases, Philosophical Studies 177, no.1010 (Oct 2019): 3071–3096.https://doi.org/10.1007/s11098-019-01360-7Vivian Mizrahi Recorded Sounds and Auditory Media, Philosophia 48, no.44 (Jan 2020): 1551–1567.https://doi.org/10.1007/s11406-020-00168-8Steve Nebel, Maik Beege, Sascha Schneider, Günter Daniel Rey A Review of Photogrammetry and Photorealistic 3D Models in Education From a Psychological Perspective, Frontiers in Education 5 (Aug 2020).https://doi.org/10.3389/feduc.2020.00144Ülhak ÇİMEN İletişimsel Etkisi Bağlamında Mezartaşı Fotoğrafları, Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi (Jun 2020).https://doi.org/10.18506/anemon.669286Gary Kemp A Unified Account: Pictorial, Photographic and Sculptural Seeing as Spectral Seeing, Theoria 86, no.33 (May 2020): 341–358.https://doi.org/10.1111/theo.12242Yanai Toister Latent digital, Journal of Visual Art Practice 19, no.22 (Jan 2020): 125–136.https://doi.org/10.1080/14702029.2019.1701915Maddalena Favaretto, Danya F Vears, Pascal Borry On the Epistemic Status of Prenatal Ultrasound: Are Ultrasound Scans Photographic Pictures?, The Journal of Medicine and Philosophy: A Forum for Bioethics and Philosophy of Medicine 45, no.22 (Jan 2020): 231–250.https://doi.org/10.1093/jmp/jhz039 References, (Feb 2020): 103–116.https://doi.org/10.1108/978-1-78769-323-420201008Tracy Piper-Wright Between Presence and Program: The Photographic Error as Counter Culture, (Jun 2020): 139–158.https://doi.org/10.1007/978-3-030-42097-0_9Jose Cañas-Bajo Emotional Film Experience, (Sep 2020): 105–123.https://doi.org/10.1007/978-3-030-53483-7_7P. Stuart Robinson, Stephanie Hemelryk Donald, Kaya Davies Hayon, Lucia Sorbera Refugees on film, Alphaville: Journal of Film and Screen Media , no.1818 (Dec 2019): 107–122.https://doi.org/10.33178/alpha.18.08Tommi Alho, Jason Finch, Roger D. Sell Renaissance Man, 11 (Nov 2019).https://doi.org/10.1075/fillm.11David Hills Expression and transaction in illocutionary acts, European Journal of Philosophy 27, no.33 (Nov 2019): 758–766.https://doi.org/10.1111/ejop.12494SCOTT WALDEN Costello on the New Theory of Photography, The Journal of Aesthetics and Art Criticism 77, no.33 (Aug 2019): 307–311.https://doi.org/10.1111/jaac.12649Vivian Mizrahi Mirrors and Misleading Appearances, Australasian Journal of Philosophy 97, no.22 (May 2018): 354–367.https://doi.org/10.1080/00048402.2018.1481119Michael T. Stuart, Nancy J. Nersessian Peeking Inside the Black Box: A New Kind of Scientific Visualization, Minds and Machines 29, no.11 (Nov 2018): 87–107.https://doi.org/10.1007/s11023-018-9484-3GRANT TAVINOR On Virtual Transparency, The Journal of Aesthetics and Art Criticism 77, no.22 (Apr 2019): 145–156.https://doi.org/10.1111/jaac.12626Jessica Pepp On Pictorially mediated mind-object relations, Inquiry 79 (Jan 2019): 1–29.https://doi.org/10.1080/0020174X.2018.1562372Frank Boardman Film Ontology: Extension, Criteria and Candidates, (Oct 2019): 3–27.https://doi.org/10.1007/978-3-030-19601-1_1Shawn Loht The Phenomenological Movement in Context of the Philosophy of Film and Motion Pictures, (Oct 2019): 285–313.https://doi.org/10.1007/978-3-030-19601-1_13Kristoffer Sundberg , ( 2019): 127.https://doi.org/10.1007/978-3-030-22048-8_8Matthew Crippen Digital Fabrication and Its Meanings for Photography and Film, (Sep 2019): 119–131.https://doi.org/10.1007/978-3-030-24751-5_8David Macarthur Seeing is (Dis)Believing: A Reading of Thomas Demand's “Modell/Model” (2000), Curator: The Museum Journal 62, no.11 (Apr 2019): 35–43.https://doi.org/10.1111/cura.12285Murray Smith Film, Art, and the Third Culture, Projections 12, no.22 (Dec 2018): 111–136.https://doi.org/10.3167/proj.2018.120214Michael Josiah Mosely Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy, Film-Philosophy 22, no.33 (Oct 2018): 364–383.https://doi.org/10.3366/film.2018.0085Won-Leep Moon Documentary and its realism, Studies in Documentary Film 12, no.11 (Dec 2017): 43–55.https://doi.org/10.1080/17503280.2017.1420413Ikbal Maulana Spontaneous Taking and Posting Selfie, (Jan 2018): 28–50.https://doi.org/10.4018/978-1-5225-3373-3.ch002DIARMUID COSTELLO What's So New about the “New” Theory of Photography?, The Journal of Aesthetics and Art Criticism 75, no.44 (Nov 2017): 439–452.https://doi.org/10.1111/jaac.12404Walter Hopp Image Consciousness and the Horizonal Structure of Perception, Midwest Studies In Philosophy 41, no.11 (Sep 2017): 130–153.https://doi.org/10.1111/misp.12070Ayelet Zohar Photography and Invisibility: Indexicality and Performativity Asia-Pacific War Memory in Tsukada Mamoru's Identical Twins Series (2003) and Suzuki Norio's Photos of Onoda Hiroo (1974), positions: asia critique 25, no.22 (May 2017): 389–429.https://doi.org/10.1215/10679847-3852273Mikael Pettersson Capturing Shadows: On Photography, Causation, and Absences, Australasian Journal of Philosophy 95, no.22 (Jun 2016): 256–269.https://doi.org/10.1080/00048402.2016.1197957Eli Pitcovski Getting the big picture, Synthese 194, no.33 (Dec 2015): 941–962.https://doi.org/10.1007/s11229-015-0981-0JIRI BENOVSKY Realism in Film: Less is More, Dialogue 56, no.11 (Feb 2017): 131–141.https://doi.org/10.1017/S0012217317000130M.L. 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W3125449229 title "Transparent Pictures: On the Nature of Photographic Realism" @default.
W3125449229 doi "https://doi.org/10.1086/448287" @default.
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