When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What is surprising (...) is that aftertastes, from a psychological point of view, seem to be analogous to afterimages, and thus have little or no epistemic import. In this paper we tackle this puzzle, and argue that we are right in treating aftertastes seriously. The moral is that both from a metaphysical and an epistemic point of view aftertastes should be categorized differently from afterimages. (shrink)

Abstract- Presentism And Temporal Experience Intuitively, we all believe that we experience change and the passage of time. Presentism prides itself as the most intuitive theory of time. However, a closer look at how we would experience temporality if presentism was true reveals that this is far from obvious. For if presentism was really so intuitive, then it would do justice to these intuitions. In the course of this article I examine how presentism fares when combined with various leading theories (...) of perception and temporal perception. I focused on two Central Questions. Can presentism, given theory X, account for experiences of change and duration? And can presentism, given theory X, account for experiences of time as passing? I argue that there is no possible combination which allows for an experience of time as passing. This result alone undermines the alleged intuitive advantage of presentism and with it the motivation for the view. Presentism, it remains safe to say, is not as intuitive a theory as its adherents like to portray it. (shrink)

The project of my dissertation was to advance the metaphysical debate about temporal passage, by relating it to debates about the perceptual experience of time and change. It seems true that we experience temporal passage, even if there is disagreement whether time actually passes, or what temporal passage consists in. This appears to give the defender of dynamic time an advantage in accounting for our experience. I challenge this by arguing that no major account of temporal perception can accommodate experiences (...) of temporal passage such that we could infer passage from them. This shows that static theories of time are at no disadvantage in accounting for the phenomenology of temporality. The conclusion has far reaching consequences: for instance, an important motivation for holding an A-theory of time is precisely the psychological intuition that we experience temporal passage. By undermining that intuition, I undermine the motivation for holding an A-theory. (shrink)

We develop a theory about the metaphysics of time and modality that combines the conceptual resources devised in recent sympathetic work on ontological pluralism (the thesis that there are fundamentally distinct kinds of being) with the thought that what is past, future, and merely possible is less real than what is present and actual (albeit real enough to serve as truthmakers for statements about the past, future, and merely possible). However, we also show that despite being a coherent, distinctive, and (...) prima facie appealing position, the theory succumbs to what we call the “problem of mixed ontological status”. We conclude that the proponents of the theory can only evade these problems by developing ontological pluralism in a radically different way than it has been by its recent sympathizers. (shrink)

This report highlights and explores four questions that arose from the workshop on temporal experience at the University of Toronto, May 20th and 21st, 2013.

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: Do we have one central clock for time, or different clocks for each sense modality?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What can we learn about the nature of time from the nature of ordinary experience?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What sorts of mechanisms underlie the perceived duration of external events?

This is an excerpt from a report on the Temporal Experience Workshop at the University of Toronto in May of 2013. This portion of the report explores the question: What is the relationship between time as represented in experience, the timing of the experiential act, and the timing of the neural realizer of the experience?

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)