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Les intentions du dessinateur. Un cas d'étude à l'interface entre la philosophie de l'art et les sciences cognitives.

Abstract : Can we perceive a picture as the result of an intentional endeavour? More precisely, do pictures possess "intentional properties", that is, properties that are perceived as being the result of intentional actions by the artist? This question is interesting because it is situated half-way between conceptual analysis developed by analytic philosophy of art and empirical research in the cognitive sciences. On the side of philosophy of art, the thesis is linked on the one hand to the intentional thesis, according to which the evaluation of an artwork as such is necessarily grounded in the intentions of the artist, and on the other hand with the experiential thesis, according to which the evaluation of a picture as such only uses those elements that one can see in the image. Arguments exist to the effect that each of these two latter theses is essential to the artistic evaluation of images. However, there is a tension between the two theses, as one cannot see the intentions of the artist by looking at the image. The two theses can only be reconciled if one accepts that the properties of the pictures can be seen as the result of the intentions of the artist, that is, only if one is prepared to answer affirmatively to the question of the intentional properties of pictures. Now, any such answer has an empirical component that cannot be ignored. As a matter of fact, the question of the intentional properties of images ought to be connected to research in different branches of cognitive science that deal with the recovery of other's intentions. Traditionally, philosophers of art incline to eschew the question, by arguing that we have here just a case in which our perception of an object is influenced by our propositional beliefs. Thus we can perceive the intentional properties of pictures thanks to the influence on our perception of our propositional beliefs relative to the intentions of the artist and to the context in which the picture was produced. A careful examination of the ways in which propositional beliefs can influence perception shows that this approach is inadequate. The propositional view is at odds with a current philosophical tenet according to which one can simultaneously perceive intentional and representational properties. It also has trouble explaining the detection of certain qualities, such as the draftsman's dexterity, and does not account for the recognition of style and for stylistic influences.
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Submitted on : Monday, November 21, 2011 - 11:19:06 PM
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Alessandro Pignocchi. Les intentions du dessinateur. Un cas d'étude à l'interface entre la philosophie de l'art et les sciences cognitives.. Philosophie. Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2008. Français. ⟨tel-00643455⟩

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