In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

In this essay, I argue that exploring institutional racism also needs to examine interactions and communications between patients and providers. Exchange between bioethicists, social scientists, and life scientists should emphasize the biological effects—made evident through health disparities—of racism. I discuss this through examples of patient–provider communication in fertility clinics in South Africa and the ongoing COVID-19 pandemic to emphasize the issue of mistrust between patients and medical institutions. Health disparities and medical mistrust are interrelated problems of racism in healthcare provision.

Recognizing gaps in our present understanding of leader apologies, this investigation examines how followers appraise leader apologies and how these perceptions impact work-related outcomes. Results indicate that followers who viewed their leader as trustworthy or caring before a leader wrongdoing were more likely to perceive their leader’s apology to be sincere, as compared to followers who previously doubted their leader’s trustworthiness and caring. Attributions of apology sincerity affected follower reactions, with followers perceiving sincere apologies reporting greater trust in leadership, satisfaction (...) with supervision, leader–member exchange quality, affective organizational commitment, and forgiveness than those reporting insincere or no apologies. A mediation model was supported, showing that attributions of apology sincerity fostered perceptions of humility, which enhanced perceptions of transformational leadership, and consequently garnered more positive follower reactions. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter or (...) write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

The issue of trust has increasingly attracted attention in the business ethics literature. Our aim is to contribute further to this literature by examining how the use of the carbon copy function in email communication influences felt trust. We develop the argument that the use of cc enhances transparency—representing an important characteristic of workplace ethics—and hence promotes trust. We further argue that a downside of the cc option may be that it can also be experienced as a control mechanism, which (...) may therefore negatively affect trust. The results of our first study showed that the use of cc indeed enhances perceived transparency, but at the same time also leads to the experience of increased control. Building upon this insight, the findings of five subsequent studies consistently revealed that the use of cc negatively influences felt trust. More precisely, employees felt trusted the least when the supervisor was always included in cc. This effect on felt trust also negatively influenced how trustworthy the organizational climate was perceived. We further replicated these results in two field surveys, which showed that the negative effect of cc on felt trust lowered perceptions of psychological safety and contributed to a culture of fear. Taken together, our findings suggest that when transparency in email communications is experienced as a control mechanism, its use is perceived as unethical, rather than as ethical. Implications and recommendations for future business ethics research are discussed. (shrink)

In their paper “Brain Data in Context: Are New Rights the Way to Mental and Brain Privacy?” Susser and Cabrera (2024) argue against the notion that specific rights may be necessary to protect “brai...

This paper aims to address how artificial gestation might affect equality of opportunity for the unborn and any resultant generation of “ectogenetic” babies. It will first explore the current legal obstacles preventing the development of ectogenesis, before looking at the benefits of allowing this technology to control fetal growth and development. This will open up a discussion of the treatment/enhancement divide regarding the use of reproductive technologies, a topic featured in various bioethical debates on the subject. Using current maternity practices (...) in Western society as a comparator, this paper will conclude that neither naturally nor artificially gestated fetuses have interests that can conflict with those of potential parents who might want to use this technology to control fetal development. Such control may include selective implantation of embryos of a desired gender, deliberate choice of genetic traits, or maintenance of an ideal incubation environment to avoid fetal damage. Objections on the basis of disability as well as concerns regarding eugenics will be addressed. The paper will conclude that none of these objections are compelling grounds to prevent the development and use of ectogenesis technologies for the purpose of achieving specific reproductive goals, particularly when compared to current practices in pre-implantation genetic diagnosis and selective abortion on the grounds of undesired traits. As such, when deciding whether to support ectogenesis research, the enduring interests of parents must be the primary consideration, with societal concerns regarding potential misuse the only valid secondary consideration. (shrink)

The article presents a dialogue, made over time, about the concept of time. Thus, it recovers Franklin Leopoldo e Silva's interpretation of time in Bergson's philosophy and puts this interpretation in relation to an interpretation of time in Leibniz inspired by Deleuze and Benjamin's readings of the seventeenth-century author. I use testimony as a philosophical category to narrate my dialogue with Franklin Leopoldo e Silva, which began in 1993.

In language, recombination of a discrete set of meaningless building blocks forms an unlimited set of possible utterances. How such combinatorial structure emerged in the evolution of human language is increasingly being studied. It has been shown that it can emerge when languages culturally evolve and adapt to human cognitive biases. How the emergence of combinatorial structure interacts with the existence of holistic iconic form-meaning mappings in a language is still unknown. The experiment presented in this paper studies the role (...) of iconicity and human cognitive learning biases in the emergence of combinatorial structure in artificial whistled languages. Participants learned and reproduced whistled words for novel objects with the use of a slide whistle. Their reproductions were used as input for the next participant, to create transmission chains and simulate cultural transmission. Two conditions were studied: one in which the persistence of iconic form-meaning mappings was possible and one in which this was experimentally made impossible. In both conditions, cultural transmission caused the whistled languages to become more learnable and more structured, but this process was slightly delayed in the first condition. Our findings help to gain insight into when and how words may lose their iconic origins when they become part of an organized linguistic system. (shrink)

Donald Davidson argues that ‘the stabbing of Caesar’ and ‘the killing of Caesar’ are two descriptions of the one event whereas Jaegwon Kim contends events are more fine-grained and two events occurred, related by supervenience. I argue that neither solution is satisfactory and, inspired by Lynne Rudder Baker, I develop a constitution relation governing cooccurring, co-located events such that the stabbing of Caesar comes to constitute the killing of Caesar when the stabbing occurs in the appropriate circumstances. According to my (...) view, the stabbing of Caesar is metaphysically distinct from the killing of Caesar such that the killing is dependent on the stabbing, yet is not identical to it. (shrink)

Philosophical descriptions of democratic music education frequently rely on “inclusion” and “participation” as the defining features of democratically oriented music programs. Democratic epistemic considerations, such as regulatory ideals of musical quality and excellence, however, are less commonly cited, if not actively avoided. This paper addresses several primary reasons for the paucity of epistemic considerations in democratic music education and problematizes current concerns about epistemic judgements from a democratic perspective. Drawing on Miranda Fricker’s influential concept of epistemic injustice, this paper argues (...) that democratic dialogue that respects values of diversity and inclusion cannot legitimately ignore epistemic dimensions because doing so occludes the epistemic dimensions of cultural, racial, and gender diversity in music education classrooms. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

Environmental education aims to affect environmental knowledge and attitude to ultimately induce pro-environmental behavior. Based on 247 upper elementary school students, we tested the impact of an outdoor-based earth education program on environmental knowledge and attitude with a pre-post design. Both outcome measures were Rasch scales. Environmental knowledge is a composite of 27 system, action, and effectiveness knowledge items, and environmental attitude is a composite of 13 evaluative statements and 11 self-reported behaviors about nature preservation. Our analysis revealed gains in (...) environmental knowledge and attitude. The convergence between knowledge and attitude increased significantly from pre- to post-program, and attitude played a significant role in knowledge acquisition. (shrink)

A imaginação é um sentido interno que reúne as impressões dos sentidos externos, afirma Leibniz em uma carta à rainha Sophie Charlotte. Esta é uma das únicas definições da imaginação formulada explicitamente por Leibniz. Não temos as cartas escritas por SophieCharlotte, o que é uma marca do silenciamento imposto às mulheres ao longo de séculos, por isso propomos um exercício de imaginação para reconstituir a importância desse diálogo. Outras raras ocorrências do termo “imaginação” em textos de Leibniz mostram a importância (...) que o filósofo atribui ao poder de criação da imaginação. Seria possível sugerir a partir de uma relação entre memória e imaginação um sentido político para a criação imaginativa? (shrink)

Não há, para Leibniz, separação entre uma esfera ética, na qual seriam consideradas as ações voluntárias dos homens e sua busca pelo bem, e uma esfera epistemológica, pela qual se explicaria a busca pela verdade. Procuramos mostrar, primeiro, em que sentido se pode dizer que o conhecimento é uma ação voluntária; e, segundo, como a ação moral só é verdadeiramente livre se fundamentada no conhecimento do verdadeiro, por isso o modelo de homem livre é o homem sábio.

This essay examines three works by three women writers whose strategies for rewriting the past include a revisionary engagement with the cultural legacies of Ancient Greece and Rome: The Emperor’s Babe: A Novel, Looking for Livingstone: An Odyssey of Silence, and Voyage of the Sable Venus. It argues that each embodies a mode of resistance that both protests the historic oppression of women of colour and asserts a black female agency, insisting on an empowered present and future. In achieving this, (...) all three transgress or subvert conventional generic distinctions between verse and prose, and, in Lewis’s case, between the cultural forms and academic disciplines of art, art history and literature. Each work insists on a transnational conception of black identity, implicitly tracing black diasporic experience through Africa, Europe and the Americas, and asserting the continued interconnections between these three. And, in their confrontations with the histories of colonialism, empire and slavery, each invokes not just the history of the seventeenth to twenty-first centuries ce but also the cultures of Ancient Greece and Rome, the legacies of which underpinned these modern European processes of domination. Of the three works discussed here, those by Evaristo and Lewis ultimately constitute works of greater subversive power than does that of Philip. (shrink)

Pickering & Garrod's (P&G's) model is an innovative and important step in the study of naturalistic language. However, the simplicity of its mechanisms for dialogue coordination may be overstated and the hypothesized direct priming channel between interlocutors' situation models is questionable. A complete specification of the model will require more investigation of the role of top-down inhibition among representations.

From the seventeenth century onwards, English Reformed ministers engaged in lively correspondence and publishing exchanges with men from different countries and Protestant traditions. In the eighteenth century, appreciation of their shared intellectual and cultural heritage and a desire to sustain the patterns for religious living it encouraged inflected the content and style of textual interactions among Halle Pietists, English dissenters and New England Congregationalists. Interest in the present state of religious life was also important, and therefore news about awakenings and (...) materials for pastoral care circulated around Europe and North America through existing channels and by new means. Their encounters and the texts that they produced were mutually generative, and the language and manner of the participants' personal interactions were important features of published works. These personal associations, publishing activities and discursive styles can be understood as aspects of the literary sociology of a religious culture that valued intellectual and emotional engagements and sought to inculcate religion through education and friendship. (shrink)

Žižek’s objective violence presents a radical contribution to understanding how violence occurs, and broadening our understandings of what can be theorized as violence. However, a full account of objective violence spans across multiple texts, and at times lacks full detail. This article addresses this problem by first giving an account for objective violence based on a variety of Žižek’s works, and then analyzing how other theorists outside philosophy have used this theoretical tool in their own research contexts. Through this method, (...) the conclusion is drawn that the lack of detail in Žižek’s work has created the capacity for a collaborative philosophical project whereby theorists have been able to appropriate key features of this tool in order to make it relevant to a variety of research contexts. (shrink)

Warren and Dresang comment on the contributions from a psycholinguistic perspective, highlighting close relations between the respective research on events and proposing that, for example, verbs may indeed directly pre‐activate templates of the typically involved event participants.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 328-344 [Access article in PDF] Spaces of Invention:Dissension, Freedom, and Thought in Foucault Kendall R. Phillips Over the past two decades, invention has become an increasingly difficult concept to discuss. In an age when the free, rational actor has become not only de-centered but viewed as both impossible and undesirable by some social theorists, the traditional conception of invention, especially rhetorical invention, becomes (...) more tenuous. While some continue to promote a rational deliberative model of the human subject—Habermas is a prime example of this school of thought—the harsh and unrelenting critiques of poststructural and postmodern thinkers have cast these recovery efforts in a nostalgic and often negative light. Chief among these critics of the modern, humanist conception of human action is Michel Foucault. Within Foucault's perspective our utterances are governed by underlying rules of discourse formations, our actions are proscribed and authorized by relations of power, and our very conception of our self is circumscribed by technologies of subjectivity. Contained within these intertwined relations of knowledge, power, and subjectivity, the human subject takes on a very different meaning and even the concept of "human subject" is itself a product of these intertwined relations; a product that may, in time, disappear under new relations of discourse and governance.Despite the apparent centrality of a creative human subject to the study of rhetoric, Foucault has taken his place within the study of rhetoric. Of course, neither this incorporation of Foucault nor the observation of its peculiarity is particularly new. The incorporation of Foucault into rhetoric took its most dramatic turn in 1989 with Raymie McKerrow's "Critical Rhetoric" essay and the implications of this union of Foucault and rhetoric were forcefully raised by Barbara Biesecker in "Michel Foucault and the Question of Rhetoric" (1992). These two important essays made the relationship between Foucault and rhetoric most pressing: McKerrow by offering [End Page 328] a practical agenda for a Foucaultian rhetorical perspective and Biesecker by opening a space for reflection on this type of agenda. In the intervening decade, however, the incorporation of Foucault into rhetoric has outstripped the reflection on this incorporation and Foucault now sits as comfortably in the bibliographies of rhetorical scholars as Burke or McKeon or Perelman.The purpose of the present essay is to revisit this relationship between Foucault and rhetoric. I pursue this end not in order to critique McKerrow's project or to outstrip Biesecker's reflections, but in order to press the importance of their earlier arguments. The project of a Foucaultian rhetoric should be taken seriously, seriously enough to keep the peculiarity of this union in the forefront of our minds as we pursue it. My present effort furthers this end by seeking within Foucault a space for invention and, in so doing, asks the question: how might invention be rendered within a Foucaultian framework?My contention is that a space for invention exists within Foucault's studies of knowledge, power, and subjectivity and that this space can be demonstrated by considering the counterpoints to his tripartite understanding of the human condition. The limiting/enabling relations of knowledge/power/subjectivity are counterpointed by three terms that describe the conditions for invention: dissension, freedom, and thought. Before turning to the conditions for these spaces of invention and the unique shape of invention that emerges from them, I will briefly consider previous discussions of Foucault. Power, resistance, and invention Rhetoricians, to be clear, are not the first to be concerned with the apparent foreclosing of the possibility of invention within Foucault. Focusing mainly on dominating relations of power/knowledge/subjectivity, Foucault seems to leave little ground for the creation of new ways of acting, speaking, or being. However, what I call a concern for invention has generally not been expressed as such; rather, in rhetoric and in other fields, criticism of Foucault has been largely couched in terms of resistance. Edward Said (1986), for instance, contends that Foucault's work is "not finally as contestatory, or as oppositional as on the surface it seems to be" (152... (shrink)

Kendal Mobley replies to Christopher Catherwood's article ‘Nationalism, ethnicity and tolerance: some historical, political and biblical perspectives’, published in Transformation, Vol 14, no. 1, January 1997, p. 10.

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to (...) several of the reprinted essays. (shrink)

When restrictive abortion policies are presented there are often two questions posed: will there be an exception to save the life of the ‘mother’ and will there be an exception in the case of rape or incest. This article will demonstrate that there are no distinctive elements to the first ‘exception’, that do not also apply to all abortions on demand. Through consideration of the potentially lethal impacts of pregnancy on physical and mental health, the case will be made that (...) all requested abortions fit the criteria of ‘medically necessary’. (shrink)

In “Ethical Responsibilities for Companies that Process Personal Data” McCoy et al. (2023) proposed three substantive principles that should underlie corporations’ treatment of data: minimizing har...

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action , in a sense which I explained . This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts . His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.

Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...) and chess and baseball, however, are the ways in which the make-believe they involve differs from other varieties. (shrink)

In the wake of recent corporate scandals, this paper traces the growing power of pension funds to provide managerial oversight of the firms they hold in their investment portfolios. Increasingly pension funds are exercising their legitimate rights as owners to raise the corporate governance standards of the firms they invest in. Within corporate governance generally, pension funds are shifting their attention away from managerial accountability and toward measures that increase transparency in firm-level decision-making. Pension funds use transparency to ensure that (...) shareholders are the primary interest being served by the firm. Transparency not only aligns managers and owners, it also raises issues of firm behaviour that allow other stakeholders to engage the corporation more broadly. I contend that secrecy is economically inefficient. When organizations are opaque and interests are secret, decision-making can and does distort efficiency. I examine recent pension fund corporate governance campaigns with particular reference to the California Public Employees Retirement System. (shrink)

Representation—in visual arts and fiction—play an important part in our lives and culture. Walton presents a theory of representation which illuminates its many varieties and goes a long way toward explaining its importance. Walton’s theory also provides solutions to thorny philosophical problems concerning the existence of fictitious beings.

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action, in a sense which I explained. This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts. His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)