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The paper considers the phenomenology of aesthetic experience as "twofold" in a sense akin to Wollheim's (Painting as an art. Princeton University Press, Princeton, 1987). However, as regards the perception of artworks proper, the notion of twofoldness needs further specification. In the wake of Wollheim, the philosophy of pictorial representation has addressed the second, "configurational' aspect of twofoldness in rather vague terms without addressing the aesthetic or pictorial function of this correlate of aesthetic perception. I shall talk about such co-awareness as "design-seeing" and assign two decisive properties to pictorial design. First, I will point to a depicting property of design that is a distinctive property of pictures. Design in pictures is such that it can depict two (or, in rare cases, even more) fully consistent objects without the picture becoming ambiguous. Next, I'll show that the design structure of a painting is not simply a structure in virtue of which something is represented to the eye, but also in virtue of which meaning is conveyed to the eye. If I am right in considering the design level of pictures as a genuine platform for meaning making, then seeing-in doubled with design seeing occurs every time lines and shapes do not only depict, but also mean something

DOI: 10.1007/978-3-319-14090-2_10

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