Pautz has argued that the most prominent naive realist account of hallucination—negative epistemic disjunctivism—cannot explain how hallucinations enable us to form beliefs about perceptually presented properties. He takes this as grounds to reject both negative epistemic disjunctivism and naive realism. Our aims are two: First, to show that this objection is dialectically ineffective against naive realism, and second, to draw morals from the failure of this objection for the dispute over the nature of perceptual experience at large.

Farben sind für uns sowohl objektive, als auch phänomenale Eigenschaften. In seinem Buch argumentiert Fabian Dorsch, daß keine ontologische Theorie der Farben diesen beiden Seiten unseres Farbbegriffes gerecht werden k ann. Statt dessen sollten wir akzeptieren, daß letzterer sich auf zwei verschiedene Arten von Eigenschaften bezieht: die repräsentierten Reflektanzeigenschaften von Gegenständen und die qualitativen Eigenschaften unserer Farbwahrnehmungen, die als sinnliche Gegebenheitsweisen ersterer fungieren. Die Natur der Farben gibt einen detaillierten Überblick über die zeitgenössischen philosophischen und naturwissenschaftlichen Theorien der Farben und (...) bietet sich aufgrund seines systematischen und umfassenden Charakters auch als ein seminar- oder vorlesungsbegleitendes Textbuch an. (shrink)

The paper argues that on three out of eight possible hypotheses about the EPR experiment we can construct novel and realistic decision problems on which (a) Causal Decision Theory and Evidential Decision Theory conflict (b) Causal Decision Theory and the EPR statistics conflict. We infer that anyone who fully accepts any of these three hypotheses has strong reasons to reject Causal Decision Theory. Finally, we extend the original construction to show that anyone who gives any of the three hypotheses any (...) non-zero credence has strong reasons to reject Causal Decision Theory. However, we concede that no version of the Many Worlds Interpretation (Vaidman, in Zalta, E.N. (ed.), Stanford Encyclopaedia of Philosophy 2014) gives rise to the conflicts that we point out. (shrink)

Although the “Transcendental Aesthetic” is the briefest part of the first Critique, it has garnered a lion's share of discussion. This fact reflects the important implications that Kant drew from his arguments there. He used the arguments concerning space and time to display examples of synthetic a priori cognition, to secure his division between intuitions and concepts, and to support transcendental idealism. Earlier, in the years around 1770, Kant's investigations into space and time had facilitated his turn toward “critical” philosophy. (...) Prior to that time, Kant's main interests in space and time pertained to physics and metaphysics. As he entered the critical period, he delved into the cognitive basis of our experience of space (and time), and drew his conclusions about their ideality. Kant's doctrines of space and time provoked extensive response in his own time and throughout the nineteenth century. These responses variously concerned the metaphysics, physics, epistemology, psychology, and geometry of space. Throughout the nineteenth century, philosophers, physiologists, and psychologists sought to extend or to refute Kant's theories of space. By the last decades of the nineteenth century, many had rightly concluded that the existence of non-Euclidean geometry as a candidate description of physical space refuted Kant's full doctrine of space - though some have hoped that his position might be saved by restricting it to “visual space.”. (shrink)

I will develop a new problem for almost all realist theories of colour. The problem involves fluctuations in our colour experiences that are due to visual noise rather than changes in the objects we are looking at.

The main focus of this paper is the question as to what it is for an individual to think of her environment in terms of a concept of causation, or causal concepts, in contrast to some more primitive ways in which an individual might pick out or register what are in fact causal phenomena. I show how versions of this question arise in the context of two strands of work on causation, represented by Elizabeth Anscombe and Christopher Hitchcock, respectively. I (...) then describe a central type of reasoning that, I suggest, a subject has to be able to engage in, if we are to credit her with causal concepts. I also point out that this type of reasoning turns on the idea of a physical connection between cause and effect, as articulated in recent singularist approaches of causation. (shrink)

Colors are of philosophical interest for two kinds of reason. One is that colors comprise such a large and important portion of our social, personal and epistemological lives and so a philosophical account of our concepts of color is highly desirable. The second reason is that trying to fit colors into accounts of metaphysics, epistemology and science leads to philosophical problems that are intriguing and hard to resolve. Not surprisingly, these two kinds of reasons are related. The fact that colors (...) are so significant in their own right, makes more pressing the philosophical problems of fitting them into more general metaphysical and epistemological frameworks. (shrink)

The aim of this paper is to show that attention to Kant's philosophy of mathematics sheds light on the doctrine that there are two stems of the cognitive capacity, which are distinct, but equally necessary for cognition. Specifically, I argue for the following four claims: The distinctive structure of outer sensible intuitions must be understood in terms of the concept of magnitude. The act of sensibly representing a magnitude involves a special act of spontaneity Kant ascribes to a capacity he (...) calls the productive imagination. Contrary to what is assumed by many commentators, it is not the case that the Two Stems Doctrine implies that a representation is either sensible or spontaneity-dependent, but not both. Outer sensible intuitions are both sensible and spontaneity-dependent – they are sensible because they exhibit the kind of structure Kant takes to be distinctive of outer sensible intuitions, and they depend on spontaneity because they are cases of sensibly representing a magnitude. (shrink)

In this paper, I compare Margaret Cavendish’s argument for the view that colours of objects are inseparable from their ‘physical’ qualities with George Berkeley’s argument for the view that secondary qualities of objects are inseparable from their primary qualities. By reconstructing their respective arguments, I show that both thinkers rely on the ‘inconceivability principle’: the claim that inconceivability entails impossibility. That is, both premise their arguments on the claim that it is impossible to conceive of an object that has size (...) and shape but no colour. I argue that Cavendish, like Berkeley, accepts the inconceivability principle on the grounds that it is impossible to conceive of something that could not, in principle, be perceived and, in turn, that something imperceptible could not possibly exist. As such, I argue that both Cavendish and Berkeley are committed to an ‘empiricist’ modal epistemology: one wherein our knowledge of what it is possible to perceive informs us about what could possibly exist. For this reason, I conclude that there is more empiricism in Cavendish’s epistemology than secondary literature to date suggests. (shrink)

Kant argued that we have no knowledge of things in themselves, no knowledge of the intrinsic properties of things, a thesis that is not idealism but epistemic humility. David Lewis agrees (in 'Ramseyan Humility'), but for Ramseyan reasons rather than Kantian. I compare the doctrines of Ramseyan and Kantian humility, and argue that Lewis's contextualist strategy for rescuing knowledge from the sceptic (proposed elsewhere) should also rescue knowledge of things in themselves. The rescue would not be complete: for knowledge of (...) things in themselves would remain elusive. (shrink)

It might be suggested that in auditory experience elements of the material world are not apparent to us in the way they are in vision and touch, and that this constitutes a shortcoming in the kind of cognitive contact with the world provided by auditory perception. I develop this suggestion, and then set out a way of thinking about the appearances of sound-producing events that might provide a response.