Blindness

Molyneux asked whether a newly sighted person could distinguish a sphere from a cube by sight alone, given that she was antecedently able to do so by touch. This, we contend, is a question about general ideas. To answer it, we must ask (a) whether spatial locations identified by touch can be identified also by sight, and (b) whether the integration of spatial locations into an idea of shape persists through changes of modality. Posed this way, Molyneux’s Question goes substantially (...) beyond question (a), about spatial locations, alone; for a positive answer to (a) leaves open whether a perceiver might cross-identify locations, but not be able to identify the shapes that collections of locations comprise. We further emphasize that MQ targets general ideas so as to distinguish it from corresponding questions about experiences of shape and about the property of tangible (vs. visual) shape. After proposing a generalized formulation of MQ, we extend earlier work (“Many Molyneux Questions,” Australasian Journal of Philosophy 2020) by showing that MQ does not admit a single answer across the board. Some integrative data-processes transfer across modalities; others do not. Seeing where and how such transfer succeeds and fails in individual cases has much to offer to our understanding of perception and its modalities. (shrink)

If the sight of cortically blind people were restored, could they visually recognize a cube or a sphere? This is Molyneux’s question. I argue that the answer to this question depends on the specificities of the mental setup of these cortically blind people. Some cortically blind people have (sometimes quite vivid) visual imagery. Others don’t. The answer to Molyneux’s question depends on whether the blind subjects have had visual imagery before their sight was restored. If they did, the answer to (...) Molyneux’s question is yes, if they didn’t, the answer is no. There is no generic answer to Molyneux’s question. (shrink)

Against the backdrop of these works (Mitchell/Snyder and others), we propose an analysis of films with and about blind or visually disabled individuals that aims at exploring different modes of world perception. In our view, such an examination should not only discuss the question of “giving voice” and visibility to those who were formerly only represented in or by the media, or the fact that films belonging to what might be considered a “new disability documentary cinema” are dedicated to the (...) experience of disability from the point of view of those who deal with it. Rather, we examine films that do not restrict their field of vision to institutional context as cultural productions. These films allow the viewer to get to know different practices of seeing in the daily life of both blind or visually disabled and sighted people. In approaching these productions, we are interested in focusing on how the audio-visual regimes produce and structure our visual experience, translate it into a filmic grammar and thus not only create filmic patterns of blind perception but, at the same time, the cinematographic aesthetic of a so-called normal sightedness. (shrink)