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Since external visual representations like pictures, photos, and motion pictures also present invariants, they present affordances as well. But in such cases the 34 Chapter 2 affordances, like the objects represented, are virtual: one can see that the fruit in the still life is not there for the eating. The human informational system has been exploited in a conniving way. The idea of virtual objects present in a musical surface may seem at ﬁrst an implausible one. With very few exceptions,23 the musical surface (like Gibson’s inkblot) contains no obvious representations of objects or events, nor does it, like a discursive symbol system, possess the conceptual and referential structure requisite for the individuation and reidentiﬁcation of objects.
But haptic exploration has a far more pronounced serial form than does vision. 22 Jackendoff (1987, 257) points out that ‘‘[c]entral to most music is the notion of a maximally stable pitch that can serve as a point of departure and arrival and whose return can be recognized as a point of relaxation. ’’ But there are formal parallels to these aspects of music in at least one other domain of sensory experience, namely kinesthetic experience, the experience of bodily motion in a gravitationally affected environment; and the kinesthetic sense is an aspect of the haptic.
11 Once it is so used, it achieves representational status and indicates, for an 28 Chapter 2 interpreter, that certain states of affairs obtain or obtained, say, that the tree is one thousand years old and has survived several forest ﬁres. ’’ If we take signs to be external representations, Cummins (1996, 90) rejects this basic semiotic principle. He defends a ‘‘picture theory’’ of representation according to which a ‘‘structure’’ represents another structure simply by virtue of being ‘‘isomorphic’’ with it (1996, 90ff).
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