Abstract
AbstractI extend my account involving the notion of “spectral seeing” from representation in painting (and drawing, etching, etc.) to representation in photography and sculpture. The account is psychological, but it steers clear of the psychological complexity often found in Wollheim‐derived accounts of pictorial representation; indeed no extra‐ordinary special sensory capacity is involved. That the account extends so naturally to these other non‐linguistic varieties of representation is a virtue of the account.
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