Here I list words with definitions related to my studies of visual culture which are new to me.
Ontology – noun
1 [mass noun] the branch of metaphysics dealing with the nature of being.
2 a set of concepts and categories in a subject area or domain that shows their properties and the relations between them.
‘Here, then, are the bare bones of our ontology: We live in a world made up entirely of physical particles in fields of force. Some of these are organized into systems. Some of these systems are living systems and some of these living systems have evolved consciousness. With consciousness comes intentionality, the capacity of the organism to represent objects and states of affairs in the world to itself. ‘ Searle, The Construction of Social Reality.
In linguistics, logic, philosophy, and other fields, an intension is any property or quality connoted by a word, phrase, or another symbol. In the case of a word, the word’s definition often implies an intension.
According to Searle in The Construction of Social Reality, chapter 1:
Intensionality is that property of sentences and other representations by which they fail certain test for extensionality. One of the most famous of these is Leibniz’s Law: If two expressions refer to the same object they can be substituted for each other in a sentence without changing the truth value of the sentence. Sentences that fail this test are said to be intensional with respect to substitutability. Another expression used to name this sort of intensionality is “referential opacity.”
Dialectic or dialectics, also known as the dialectical method, is a discourse between two or more people holding different points of view about a subject but wishing to establish the truth through reasoned arguments.
total recall; photographic memory
There are psychological types, we are told, who can hold a visual impression for quite some time after it has vanished from their eyes. They keep something like a color photograph in their minds, even when closing their eyes. Obviously such a faculty may be useful for a painter who wants to memorize a scene and who can devote more time to painting than to looking. But the claims that have been made for this so-called “eidetic faculty” in relation to art seem to me as unfounded as are those for the innocent eye. E.H Gombrich, Art & Illusion, 2000.