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  1. A Higher-Order Account of the Phenomenology of Particularity.Jacob Berger - forthcoming - Erkenntnis:1-20.
    Many theorists maintain that perceptual experience exhibits the what is often called the phenomenology of particularity: that in perceptual experience it phenomenally seems that there are particular things. Some urge that this phenomenology demands special accounts of perception on which particulars somehow constitute perceptual experience, including versions of relationalism, on which perception is a relation between perceivers and particular perceived objects, or complex forms of representationalism, on which perception exhibits demonstrative or special particular-involving types of content. I argue here that (...)
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  • What Does it Mean to be an Ontological Naïve Realist?Ícaro M. I. Machado - 2023 - Philosophia 51 (4):2035-2063.
    Although meritorious, Naïve Realism faces theoretical issues stemming from the lack of clarity in the concepts forming its propositions and the relevant (but not usually acknowledged) diversity of its theses. In this paper, my goal is to provide a groundwork that mitigates these theoretical complications. One such distinction concerns its subject matter, in particular, whether it deals with the nature of perceptual episodes or their phenomenology. My first goal is to acknowledge such distinctions by delimiting the former option, which I (...)
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  • Reviving the naïve realist approach to memory.André Sant'Anna & Michael Barkasi - 2022 - Philosophy and the Mind Sciences 3.
    The viability of a naïve realist theory of memory was a lively debate for philosophers of mind in the first half of the twentieth century. More recently, though, naïve realism has been largely abandoned as a non-starter in the memory literature, with representationalism being the standard view held by philosophers of memory. But rather than being carefully argued, the dismissal of naïve realism is an assumption that sits at the back of much recent theorizing in the philosophy of memory. In (...)
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  • Vision and visual experience in European Celtic Art: towards new interpretations from neuro-atypical perspectives.Tanja Romankiewicz - forthcoming - World Archaeology:1-20.
    Analysing ancient art offers views into the visual worlds of its makers. The cusps and swirls typical of European Celtic Art have been interpreted as abstractions of faces and creatures inspired by earlier, more naturalistic art. Yet as 21st-century visual communicators used to ‘reading’ abstract emoji, we may be over-interpreting this aspect at the cost of other, still hidden dimensions. While humans share inalienable universals across space and culture, such as recognizing friendly or hostile faces, persons who lack facial recognition (...)
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