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surface is altered or marked in such a way as to exemplify its two-dimensional
properties, but this system is not a notation, because of its multi-directional
character.
But while this formulation allows for a distinction between patterns and pictures,
the demarcation begs further attention. For example, simple symmetrical shapes
such as a circle or a square are not generally understood as a picture of a circle or a
square, but just as an instance or presentation rather than a representation. This is
not to say that pictures cannot include a circle or square, or be of a circle or square
in some further three-dimensional scene, or indeed use a circle or square to depict
some three-dimensional object, only that a circle or square are often used for either
purpose. The same outline may serve as either or both, a lesson in geometry or
linear depiction. Just when a circle depicts a sphere or disc as opposed to merely
instantiating a circle, is by no means clear-cut, but is largely a matter of scheme and
style, even when schemes and styles allow ambiguity. But rather than pursue stylistic
features directly, the next chapter tests this theory of depiction against more
elaborate kinds of picture and issues raised by other theories. Implications to the
reshuffle of reference within Goodman’s theory are also to be traced along this
path.