Visual representations (photographs, diagrams, etc.) play crucial roles in scientific processes. They help, for example, to communicate research results and hypotheses to scientific peers as well as to the lay audience. In genuine research activities they are used as evidence or as surrogates for research objects which are otherwise cognitively inaccessible. Despite their important functional roles in scientific practices, philosophers of science have more or less neglected visual representations in their analyses of epistemic methods and tools of reasoning (...) in science. This book is meant to fill this gap. It presents a detailed investigation into central conceptual issues and into the epistemology of visual representations in science. (shrink)

This paper evaluates a general argument for the conclusion that visual representations in science must play the role of truth bearers if they are to figure as legitimate contributors to scientific arguments and explanations. The argument is found to be unsound. An alternative approach to assessing the role of visual representations in science is exemplified by an examination of the role of structural formulas in organic chemistry. Structural formulas are found not to play the role of truth bearers; (...) nonetheless, they contribute to the arguments and explanations of organic chemistry. An early success of conformational analysis is presented in order to illustrate the role of structural formulas in the discourse of organic chemistry. *Received January 2007; revised July 2009. †To contact the author, please write to: Department of Philosophy and Religious Studies, Rowan University, 201 Mullica Hill Road, Glassboro, NJ 08028; e‐mail: [email protected]. (shrink)

Evidence for a dichotomy between the planning of an action and its on-line control in humans is reviewed. This evidence suggests that planning and control each serve a specialized purpose utilizing distinct visual representations. Evidence from behavioral studies suggests that planning is influenced by a large array of visual and cognitive information, whereas control is influenced solely by the spatial characteristics of the target, including such things as its size, shape, orientation, and so forth. Evidence from brain imaging (...) and neuropsychology suggests that planning and control are subserved by separate visual centers in the posterior parietal lobes, each constituting part of a larger network for planning and control. Planning appears to rely on phylogenetically newer regions in the inferior parietal lobe, along with the frontal lobes and basal ganglia, whereas control appears to rely on older regions in the superior parietal lobe, along with the cerebellum. Key Words: action; apraxia; control; illusions; optic ataxia; PET; planning; reaching;. (shrink)

Publications in contemporary science journals often include figures like graphs, diagrams, photographs, and MRIs, which are presented as support for the hypothesis the author is defending. As a first step to explaining how figures contribute to confirmation, I present an account of visual representation and use examples to show how the visual format is involved in the support those figures provide the authors’ conclusions. I then show that attempts to explain what figures contribute to scientific arguments without (...) analyzing them as visual representations will not succeed. (shrink)

Incorporating a discussion of physical and emotional trauma in medical education can help prepare students for their encounters with trauma survivors in clinical practice. A pedagogical approach begins with an inquiry into the purpose of historical or current representations of torture. Justifications include rationalizing state-sponsored torture, providing an outlet for critique and protest, and organizing representations of the enemy. Discussions of torture must further address the emotional and symbolic effects of clinical work with torture survivors on the caregiver. Introductory workshops (...) using visual representations can trigger pain, fear and anger in the viewer. Images of torture, war, and genocide may also invoke ethical concerns relating to the impact of visual images, where viewing can elicit an ambiguous response, casting the viewer into the role of voyeur. At the same time, learners should recognize that indifference or inattention to the provocations mediated through images has its own liabilities, signaling defensiveness. Discussions about the respective roles of perpetrators, victims and observers offer opportunities for the viewer to engage in self-reflection. Artistic representations also offer opportunities for advocacy on the survivor’s behalf, sometimes facilitated by dissemination of visual representations, but also by involving the survivors themselves in activities that exploit the healing power of art. (shrink)

This is a review of Nicola Mößner’s Visual Representations in Science. Concept and Epistemology.

This commentary makes two rejoinders to O'Regan & Noë. It clarifies the status of visual representations in their account, and argues that their explanation of the appeal of qualia is unsatisfying.

The theme of visual representations in science was already central to our research when we aended the 6th European Spring School on History of Science and Popularization in Menorca, Spain, in 2011. As discussed in the review of this conference by Ignacio SuayMatallana and Mar Cuenca-Lorente (245), many participants not only described the particulars of the generation of individual images, but also broader issues surrounding the constitution of visual domains. We were impressed by the range of scholarship surrounding (...) the production, circulation, and interpretation of a wide variety of images, yet a nagging question remained: what issues unite this diversity of research and compel us to investigate such representations? Beyond their novelty, why study scientific images at all? (shrink)

Understanding what is distinctive about the role of models in science requires characterizing broad patterns in how these models evolve in the face of experimental results. That is, we must examine not just model statics—how the model relates to theory, or represents the world, at some point in time—but also model dynamics—how the model both generates new experimental results and is modified in response to them. Visual representations of structure play a central role in the theoretical reasoning of organic (...) chemists. Not surprisingly, these representations have changed in important ways–in response to experimental and theoretical developments– throughout the history of organic chemistry. In many cases it is appropriate to understand the visual representations used by organic chemists as models. The evolution of the structural representations of organic chemists therefore provides a clear example of the dynamics of scientific modeling. In this paper I use a conception of scientific modeling drawn from the work of Mary Hesse to examine how the concept of a molecular conformation was incorporated into the visual representations of structure used by organic chemists. (shrink)

This is a review of Nicola Mößner’s Visual Representations in Science. Concept and Epistemology.

The paper raises the question of the function of visual representations in medieval cosmographical texts. It proposes to view diverse functions of figures in relation to changing discursive environments, including differing philosophical positions and changing social and intellectual contexts. It further suggests a distinction between figures that were elaborated within the highly specialized disciplines of mathematics and philosophy of nature in Greek Antiquity and figures that were instrumental in transmitting accepted world models, thus avoiding the opposition between scientific and (...) unscientific types of verbal and pictorial documents. Simplifying changes, when figures are abstracted form their geometrical context and accompany doxographical, descriptive accounts, are characterized in terms of schematization. Concomitantly, mathematical and philosophical demonstrations tend to give way to proofs of a predominantly rhetorical nature: images are verbally construed and, in order to enhance these, actual visual figures— mostly linear, diagrammatic constructs—are added. With regard to the Middle Ages, the paper distinguishes two principal periods: the period from the seventh to the eleventh century and the period of the so-called twelfth-century Renaissance. First, the verbal and pictorial cosmological corpus of Roman origin gave rise to explanations and variations but not to consequential theoretical developments and cosmological diagrams tended to fuse with summarizing tables at this time. Then, during the twelfth century, mathematical and philosophical documents of a specialized kind that were translated from the Arabic and also from the Greek became available in the Latin West. In mathematics, specialized types of study remained, however, sparse. Continuous elaborations of the assimilated material set in later only, within the thirteenth-century university context. Nevertheless, twelfth-century authors of cosmographical accounts became increasingly aware that their expositions and visual figures were ultimately derived from geometrical models of the universe. More diversified types of demonstration and corresponding visual figures were being used, as exemplified by William of Conches’ Dragmaticon philosophiae. (shrink)

& Visual object representation was studied in free-ranging rhesus monkeys. To facilitate comparison with humans, and to provide a new tool for neurophysiologists, we used a looking time procedure originally developed for studies of human infants. Monkeys’ looking times were measured to displays with one or two distinct objects, separated or together, stationary or moving. Results indicate that rhesus monkeys..

Context: In sciences of the mind, cognitive phenomena are typically investigated with the use of psychological tasks. These usually represent highly constrained environments that isolate and make ….

In the visual representation of ontologies, in particular of part-whole relationships, it is customary to use graph theory as the representational background. We claim here that the standard graph-based approach has a number of limitations, and we propose instead a new representation of part-whole structures for ontologies, and describe the results of experiments designed to show the effectiveness of this new proposal especially as concerns reduction of visual complexity. The proposal is developed to serve visualization of (...) ontologies conformant to the Basic Formal Ontology. But it can be used also for more general applications, particularly in the biomedical domain. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, (...) south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)

This article provides a strategic history of the role assigned by modern historians to visual representation in early modern science, an aspect of historiography that is largely ignored in the scholarly literature. Despite the current undervaluation of images and visual reasoning, historians in the 1940s and 1950s who established the 20th century concept of the Scientific Revolution, also assigned a conspicuous role to images, claiming 15th century art as a chapter in the history of science and identifying (...) the first modern scientists in artists such as Brunelleschi and Leonardo. My analysis of the writings that shaped the discourse on visual representation---by giants such as George Sarton, Herbert Butterfield, and Alexandre Koyré---shows that the handful of concepts introduced in these early discussions formed the foundations of the subsequent scholarly approach to early modern scientific images. However, close scrutiny during the 1970s defined these concepts as interesting but not as key elements for the emergence of modern science proposed earlier. The wave of social studies of science in the 1980s further diminished the importance of images, to the point that recent surveys of early modern science neither consider the role of visual representation nor include figures in their narratives. Several recent publications with suggestive titles such as The Power of Images in Early Modern Science promise to recover a significant role for images in the Scientific Revolution. The present inquiry into the earlier discourse seeks to clarify the historiographic framework into which these new efforts fit. (shrink)

Confucius became a subject for visual representation after the Han court formally endorsed his teachings, and his earliest images appeared in schools and offering shrines. As his official cult evolved, and until the 1530 ritual reform, iconic portraits of Confucius and his disciples received offerings in temples throughout China. During the Song period, his portrayals became more diverse, and some reproduced pictures kept by his Kong descendants in Qufu曲阜and Quzhou衢州. Attributions to the Tang painter Wu Daozi 吳道子became customary (...) and persistent, despite tenuous connections. Until the 20th century, images of Confucius primarily concerned the literate elite, for whom he was an exemplar of moral cultivation. Pictorial biographies of Confucius, made in considerable numbers from the middle Ming onward, brought him more vividly to life and to a wider range of society. In recent decades, new images of Confucius have evolved to serve a range of contemporary purposes. (shrink)

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a (...) noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that (...) their multiplicity and modal narrowness motivates a view of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

There is a widely held view that visual representations (images) do not depict negation, for example, as expressed by the sentence, “the train is not coming.” The present study focuses on the real-world visual representations of photographs and comic (manga) illustrations and empirically challenges the question of whether humans and machines, that is, modern deep neural networks, can recognize visual representations as expressing negation. By collecting data on the captions humans gave to images and analyzing the occurrences (...) of negation phrases, we show some evidence that humans recognize certain images as expressing negation. Furthermore, based on this finding, we examined whether or not humans and machines can classify novel images as expressing negation. The humans were able to correctly classify images to some extent, as expected from the analysis of the image captions. On the other hand, the machine learning model of image processing was only able to perform this classification at about the chance level, not at the same level of performance as the human. Based on these results, we discuss what makes humans capable of recognizing negation in visual representations, highlighting the role of the background commonsense knowledge that humans can exploit. Comparing human and machine learning performances suggests new ways to understand human cognitive abilities and to build artificial intelligence systems with more human-like abilities to understand logical concepts. (shrink)

Les deux ouvrages collectifs que nous présentons ici constituent une partie seulement des résultats issus de la coordination de deux projets de recherches de longue haleine, localisés respectivement à Paris sous la direction de Nicole Belayche (AnHiMA, 2014–2018) et à l’université de Genève sous la direction de Francesco Massa (de 2015 à 2018). D’autres recherches liées à ces mêmes projets, aboutissant elles aussi à des publications qui feront date, ont porté sur le vocabulaire attesté plus p...

Review of Nicola Möβner’s 'Visual Representations in Science. Concept and Epistemology'. Forthcoming in Grazer Philosophische Studien.

This paper examines visual representation from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. Suggests ways to clarify complex issues of representational ethics in marketing communications and marketing representations, suggesting an analysis that makes identity creation central to societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, drawing upon tourist promotions, advertisements, and mundane objects in material culture. Moreover, music is an important force in marketing communication: (...) class='Hi'>visual representations in music promotions are also explored as data for inquiry. Offers an alternative to phenomenologically based approaches in marketing and consumer research scholarship that use consumer responses to generate data. Contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation. (shrink)

This article analyzes how the conceptualization LIFE IS A JOURNEY is conveyed within a series of paintings ranging from the fifteenth century to the twentieth century. While the previous research on visual metaphor generally aims to describe how the domains of metaphorical conceptualization interact or discusses the rhetorical effect that visual metaphor is able to induce, this article takes a historical perspective in order to identify the main conceptual aspects shared by the paintings under consideration. It is proposed (...) that the concept of a JOURNEY is associated with a PURPOSIVE ACTIVITY that involves the start of the journey and its termination as two qualitatively different moments that are faced as a collective/shared experience and that are inspired by some human wish. This article also shows how the conceptual potential of metaphor tends to maintain a coherent representation although the paintings represent different historical sensitivities and artistic approaches. (shrink)

This paper traces the development of a deliberate and intense emphasis on visuality in literary representation of the second through fourth centuries C.E., resulting in a new cultural phenomenon: attributing the characteristics and functions of images to living persons. Calling on a range of sources from Lucian's Eikones to the Life of St. Daniel the Stylite and recent scholarship in art history and critical theory, the paper analyzes a series of interfaces between verbal and visual representation in (...) terms of an active transaction between viewer and viewed to construct meaning and establish and communicate social power. (shrink)

This paper probes the foundations and limits of visual representation in the sciences through a close reading of the diagrams that accompanied definitions of the geometric point in the first century of printed editions of Euclid’s Elements. I begin with the modal form for such diagrams of Euclid’s “small and unsensible shape,” showing how it incorporates a broad spectrum of conventions and practices related to the point’s philosophical and practical roles in the surrounding Euclidean geometry. I then explore (...) the form’s several variations in order to consider the role of “mere representation” in geometric exegesis, and conclude by characterizing the curious relationship between things and their images and that relationship’s implications for understanding scientific knowledge and practice. (shrink)

The problem of representing the spatial structure of images, which arises in visual object processing, is commonly described using terminology borrowed from propositional theories of cognition, notably, the concept of compositionality. The classical propositional stance mandates representations composed of symbols, which stand for atomic or composite entities and enter into arbitrarily nested relationships. We argue that the main desiderata of a representational system—productivity and systematicity—can (indeed, for a number of reasons, should) be achieved without recourse to the classical, proposition‐like (...) compositionality. We show how this can be done, by describing a systematic and productive model of the representation of visual structure, which relies on static rather than dynamic binding and uses coarsely coded rather than atomic shape primitives. (shrink)