Definition of "depictee"

One of the nodes in a depiction is identified as the depictee; depictions describe their depictee in terms of their other nodes, which are known as depicters.

1977, IJCAI-77: 5th International Joint Conference on Artificial Intelligence-1977: Proceedings of the Conference, page 99

In the depiction D-HUMAN, N-ARM acts as a depicter; at the same time, in D-ARM, N-ARM is the depictee—the subject of the depiction.

1979, N. V. Findler, editor, Associative Networks: Representation and Use of Knowledge by Computers, Academic Press, page 24

Nevertheless, Keaton produced photographs of a person he positively identified as the claimant, who was sitting before him at the hearing. The depictee was seen dimly in the truck but somewhat more clearly outside the house, standing and stooping and bending.

1988, West’s South Eastern Reporter, page 147, column 1

[…] it is in avoiding portrayals that are so objectifying, so limiting, so barren of character that they foreclose on any chance of imagining the depictee as a whole person, or of the target consumer imagining himself/herself as a whole person—as opposed to, say, a set of glands holding a remote control.

2003, Bob Garfield, And Now a Few Words from Me: Advertising’s Leading Critic Lays Down the Law, Once and For All, McGraw-Hill, published 2004, page 84

Video, lay persons familiar with depictee (Conn. App. Ct.), In Brief, 75:29; […]

2004, The Criminal Law Reporter, volume 75, Bureau of National Affairs, page 9

There are human beings mingling with animals and representations of them. There are periods of time where this co-habitation and simultaneous presences of art depiction and its depictees are vibrant and contemporary and constitute a kind of self-contained culture or society.

2009, Peter A. French, Howard K. Wettstein, Ernest LePore, editors, Philosophy and Poetry (Midwest Studies in Philosophy; XXXIII), Blackwell Publishing, page 29

There is an irrelevant reading here where David is interpreted as the possessor of the tree, which causes some speakers to prefer (39b). This can be controlled for by using a proper name as the depictee.

2013, David Adger, A Syntax of Substance (Linguistic Inquiry Monograph Sixty-Four), Cambridge, Mass., London: The MIT Press, page 173

Yet the morbid dimension of the painting is best understood as an intimation and not a keen signifier of the actual death of the depictee.

2016, Nathaniel Wallace, Scanning the Hypnoglyph: Sleep in Modernist and Postmodern Representation, Leiden, Boston, Mass.: Brill, page 196