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    Richard Wollheim's account of 'seeing-in' demonstrates th... — Carmelics
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    Supports→Aesthetic norms requiring purely optical attention cannot be taken seriously as prescriptions.

    Richard Wollheim's account of 'seeing-in' demonstrates that pictorial perception is constitutively twofold, making optical isolation from representational content phenomenologically incoherent as a perceptual achievement.

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    Key Terms

    Constitutively twofold(as describing the nature of pictorial perception)
    Essentially or fundamentally made up of two parts that cannot be separated—meaning the two-part nature is built into what it is, not optional.
    Optical isolation(as something the statement says is impossible)
    Trying to see only the physical appearance of something (like paint and canvas) completely separate from what it represents or means.
    Perceptual achievement(as what optical isolation would be if it were actually possible)
    Something we accomplish or succeed at doing through the act of perceiving or experiencing something with our senses.
    Phenomenologically incoherent(in philosophy of mind)
    Something that doesn't make sense from the perspective of actual human experience or conscious awareness; it contradicts what we actually feel and perceive.

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    Pictorial perception(as the type of perception being analyzed)
    The act of looking at and understanding pictures, paintings, or images—how our eyes and mind work together when we view art.
    Representational content(as what explains how our beliefs can mean something)
    The ability of thoughts, mental images, or beliefs to be 'about' something in the real world—like how the thought 'it's raining' represents an actual weather condition.
    Richard Wollheim(as the main philosopher referenced in the statement)
    A 20th-century British philosopher who developed influential theories about how we understand and experience art, particularly paintings and pictures.
    seeing-in(Wollheim's account of pictorial representation)
    A distinctive kind of perceptual experience generated by pictures in which the viewer experiences the subject as present within the picture.

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