Pictures are vehicles for seeing-in—they enable us to see scenes in marked surfaces. However, seeing-in takes several forms. In some cases, the scene is seen together with the marked surface, and, in other cases, seeing the scene excludes seeing the marked surface. In every case, evaluating a picture as a picture involves evaluating it as a vehicle for seeing-in. But evaluation, like seeing-in, comes in many flavours. Aesthetic, cognitive, and moral evaluations of pictures are especially prominent in picture criticism. These three types of evaluation of pictures interact, for one may imply ano ... More

Pictures are vehicles for seeing-in—they enable us to see scenes in marked surfaces. However, seeing-in takes several forms. In some cases, the scene is seen together with the marked surface, and, in other cases, seeing the scene excludes seeing the marked surface. In every case, evaluating a picture as a picture involves evaluating it as a vehicle for seeing-in. But evaluation, like seeing-in, comes in many flavours. Aesthetic, cognitive, and moral evaluations of pictures are especially prominent in picture criticism. These three types of evaluation of pictures interact, for one may imply another. Moreover, aesthetic, cognitive, and moral evaluations of pictures as