Aspects of Perception, Misc

This paper presents a novel theory of what it is that makes vision a representational affair. Vision is a process of representation; a fact that does not depend on it being "contentfull" or "indirect". Even if it turns out that vision is direct and/or intrinsically "contentless", it is nevertheless defined by features that decisively make it count as a process or representation. The phenomenology of vision is key here: as we see, we are directly presented with aspects of the environment (...) that are at various distances away from us. Through the process of vision, aspects of the environment that would otherwise still be unavailable or “absent”, are made (quasi-)available, or (quasi-)present. This already by itself makes vision deserving of the name ‘representational’, even if those distant aspects of the world are presented to us directly and contentless. In part I, I provide a bit of an overview of the relevant theoretical landscape, and I give my own take on how we may frame and approach some of the issues with respect to mental representation. Then, in part II, I argue that the representational features of vision must primarily be sought at the level of conscious experience. In part III, I elaborate on the two most common theories that are associated with the view that vision is ‘representational’, and proceed to show that there is in fact a third, more direct, way in which vision can be considered as essentially a process of representation. Finally, in part IV, I show that the kind of interaction problems that arise with the more traditional notions of representation also arise with this newer, more direct, notion. (shrink)

Modern physics has provided a range of motivations for holding time to be fundamentally undirected. But how does a temporally adirectional metaphysics, or ‘C-theory’ of time, fit with the time of experience? In this chapter, I look at what kind of problem human time poses for C-theories. First, I ask whether there is a ‘hard problem’ of human time: whether it is in principle impossible to have the kinds of experience we do in a temporally adirectional world. Second I consider (...) the ‘easy problem’: how specific directed aspects of our temporal experience are to be explained by C-theorists. This leads to a greater issue: is there such a thing as an experience of time direction at all to even be explained? I show how the kinds of experience we have that we typically associate with the idea of time being directed can be accommodated within a directionless picture of time. (shrink)

In the current philosophy of perception, a debate about whether concepts permeate perceptual states in constituting the perceptual object or not has been widely discussed. Analytic philosophers and phenomenologists participate in this debate likewise, but it is also a debate in Kantian scholarship since the conceptualists’ thesis goes back to Kant’s Criticism and neo-Kantians already discussing such theory against any philosophy of immediate experience long before Wilfrid Sellars had started his attack against the so-called myth of the given. In light (...) of this historical panorama, the article reconstructs Ernst Cassirer’s views on perception in order to systematically reject both Conceptualism and Non-Conceptualism. It can be shown that both positions are uncritical stances which make claims to either the absoluteness of language or perception and that much-discussed arguments such as the fineness of grain argument rely on a category mistake. The proposed solution is a view that upholds the criticism against the myth of the given, but replaces the idea of a conceptual mediation of perceptual experience with a symbolic mediation. As a consequence, perception must perform a paradoxical feat and has thus to be elastic. (shrink)

If I see, hear, or touch a sparrow, the sparrow seems real to me. Unlike Bigfoot or Santa Claus, it seems to exist; I will therefore judge that it does indeed exist. The “sense of existence” refers to the kind of awareness that typically grounds such ordinary judgments of existence or “reality.” The sense of existence has been invoked by Humeans, Kantians, Ideologists, and the phenomenological tradition to make substantial philosophical claims. However, it is extremely controversial; its very existence has (...) been called into question. This paper aims to clarify the nature and reality of the sense of existence by studying a psychiatric condition in which the sense appears to be disrupted: depersonalization disorder (DPD). (shrink)

Zenon Pylyshyn argues that cognitively driven attentional effects do not amount to cognitive penetration of early vision because such effects occur either before or after early vision. Critics object that in fact such effects occur at all levels of perceptual processing. We argue that Pylyshyn’s claim is correct—but not for the reason he emphasizes. Even if his critics are correct that attentional effects are not external to early vision, these effects do not satisfy Pylyshyn’s requirements that the effects be direct (...) and exhibit semantic coherence. In addition, we distinguish our defense from those found in recent work by Raftopoulos and by Firestone and Scholl, argue that attention should not be assimilated to expectation, and discuss alternative characterizations of cognitive penetrability, advocating a kind of pluralism. (shrink)

It is natural to say that when we acquire a new concept or concepts, or grasp a new theory, or master a new practice, we come to see things in a new way: we perceive phenomena that we were not previously aware of; we come to see patterns or connections that we did not previously see. That natural idea has been applied in many areas, including the philosophy of science, the philosophy of religion, and the philosophy of language. And, in (...) reflecting on the character of philosophy itself, Wittgenstein himself associates the introduction of a new concept in philosophy with the discovery of a new way of looking at things (PI §401), and says that the point of presenting us with an imagined example may be to change our way of looking at things (PI §144). The paper considers four interrelated questions about this association between seeing-as and change, novelty, or innovation. 1. Is there an important difference between the case where the change in someone’s way of seeing things involves the invention or discovery of a completely new concept, a completely new theory etc., and the case where it involves the person’s coming to understand an existing concept or theory? 2. Is there a special connection between seeing-as and conceptual or theoretical change or creativity: a connection that does not obtain between seeing-as and using or applying a familiar theory or system of concepts? 3. In cases where seeing-as is associated with novelty or creativity, is there any sense in which the fact that someone sees things in a new way can help to explain their conceptual or theoretical creativity? 4. To the extent that there is some association between seeing-as and novelty or creativity, why if at all does it matter that one experiences things in a certain way? Would someone who was aspect-blind be any worse off with respect to creativity or innovation than the rest of us? And if so, why? (shrink)

The past few years have seen a resurgence of interest in the scientific study of magic. Despite being only a few years old, this “new wave” has already resulted in a host of interesting studies, often using methods that are both powerful and original. These developments have largely borne out our earlier hopes (Kuhn et al., 2008) that new opportunities were available for scientific studies based on the use of magic. And it would seem that much more can still be (...) done along these lines. -/- But in addition to this, we also suggested that it might be time to consider developing an outright science of magic—a distinct area of study concerned with the experience of wonder that results from encountering an apparently impossible event1. To this end, we proposed a framework as to how this might be achieved (Rensink and Kuhn, 2015). A science can be viewed as a systematic method of investigation involving three sets of issues: (i) the entities considered relevant, (ii) the kinds of questions that can be asked about them, and (iii) the kinds of answers that are legitimate (Kuhn, 1970). In the case of magic, we suggested that this could be done at three different levels, each focusing on a distinct set of issues concerned with the nature of magic itself: (i) the nature of magical experience, (ii) how individual magic tricks create this experience, and (iii) organizing knowledge of the set of known tricks in a more comprehensive way (Rensink and Kuhn, 2015). Our framework also included a base level focused on how the methods of magic could be used as tools to investigate issues in existing fields of study. -/- Lamont (2010) and Lamont et al. (2010) raised a number of concerns about the possibility of such a science, which we have addressed (Rensink and Kuhn, 2015). More recently, Lamont (2015) raised a new objection, arguing that although base-level work (i.e., applications of magic methods) might be useful, there is too little structure in magic tricks for them to be studied in a systematic way at the other levels, ruling out a science of magic. We argue here, however, that although this concern raises some interesting challenges for this science, it does not negate the possibility that it could exist, and could contribute to the study of the mind. (shrink)

In recent years the idea that perceptual content is tensed in the sense that we can perceive objects as present or as past has come under attack. In this paper the notion of tensed content is to the contrary defended. The paper argues that assuming that something like an intentionalistic theory of perception is correct, it is very reasonable to suppose that perceptual content is tensed, and that a denial of this notion requires a denial of some intuitively very plausible (...) principles. The paper discusses some common objections against the notion of tensed content and concludes that none of them succeeds in showing that perceptual content cannot be tensed. (shrink)

In Remarks on the philosophy of psychology Wittgenstein uses ambiguous illusions to investigate the problematic relation of perception and interpretation. I use this problem as a starting point for developing a conceptual framework capable of expressing problems associated with visual perception in a precise manner. I do this by discerning between subjective and objective meaning of the term “to see” and by specifying the beliefs which are to be ascribed to the observer when we assert that she sees a given (...) object. The framework (detailed in section 2) is then used to analyze the case of the duck/rabbit illusion. It shows that ambiguous illusions present us with a specific skeptical challenge but that the challenge can be overcome by empirical sciences. Along the way I explicate some of the common notions associated with perception (“to look at”, “to have an impression of…”, "to react as if one had an impression of..”, “to convince oneself that what one sees is…”). (shrink)

In his pioneering sociological theory, which makes phenomenological concepts fruitful for the social sciences, Alfred Schütz has laid foundations for a characterization of an manifold of distinct domains of experience. My aim here is to further develop this pluralist theory of experience by buttressing and extending the elements of diversity that it includes, and by eliminating or minimizing lingering imbalances among the domains of experience. After a critical discussion of the criterion-catalogue Schütz develops for the purpose of characterizing different cognitive (...) styles, I move on to examine its application to one special style, the lifeworld. I appeal, on the one hand, to Husserl's characterization of the lifeworld as a world of perception, and on the other hand to the layer-model of the lifeworld developed by Schütz and Thomas Luckmann. A consequence of this approach is that the lifeworld appears as a socially definable context that is detached from other experiences but on an equal footing with them with respect to their claim of validity. The term "lifeworld" does not denote a category that encompasses culture or nature but refers to a delimited action-space. Finally, I draw upon Schütz' s criterion-catalogue to characterize two domains of experience outside of the lifeworld, which play a central role for the process of differentiation of experience in modernity and for the phenomenological analysis of types of experience: experimental science and subjectivity. (shrink)

Aspect-seeing, I claim, involves reflection on concepts. It involves letting oneself feel how it would be like to conceptualize something with a certain concept, without committing oneself to this conceptualization. I distinguish between two kinds of aspect-perception: -/- 1. Preparatory: allows us to develop, criticize, and shape concepts. It involves bringing a concept to an object for the purpose of examining what would be the best way to conceptualize it. -/- 2. Non-Preparatory: allows us to express the ingraspability of certain (...) experiences. It involves bringing a concept to an object for the purpose of showing—per impossible—what it would take to properly capture one’s experience. -/- I demonstrate the usefulness of the two kinds of aspect perception in making conceptual judgments, and in making moral and aesthetic judgments. (shrink)

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

This chapter offers the beginning of an enactive account of auditory experience—particularly the experience of listening sensitively to music. It investigates how sensorimotor regularities grant perceptual access to music qua music. Two specific claims are defended: (1) music manifests experientially as having complex spatial content; (2) sensorimotor regularities constrain this content. Musical content is thus brought to phenomenal presence by bodily exploring structural features of music. We enact musical content.

What do we see when we look at someone's expression of fear? I argue that one of the things that we see is fear itself. I support this view by developing a theory of affect perception. The theory involves two claims. One is that expressions are patterns of facial changes that carry information about affects. The other is that the visual system extracts and processes such information. In particular, I argue that the visual system functions to detect the affects of (...) others when they are expressed in the face. I develop my theory by drawing on empirical data from psychology and brain science. Finally, I outline a theory of the semantics of affect perception. (shrink)

It has often been assumed that when we use vision to become aware of an object or event in our surroundings, this must be accompanied by a corresponding visual experience (i.e., seeing). The studies reported here show that this assumption is incorrect. When observers view a sequence of displays alternating between an image of a scene and the same image changed in some way, they often feel (or sense) the change even though they have no visual experience of it. The (...) subjective difference between sensing and seeing is mirrored in several behavioral differences, suggesting that these are two distinct modes of conscious visual perception. (shrink)