Many people have recently argued that we need to distinguish between experiences and seemings and that this has consequences for views about how perception provides evidence. In this article I spell out my take on these issues by doing three things. First, I distinguish between mere sensations like seeing pitch black all around you and perceptual experiences like seeing a red apple. Both have sensory phenomenology in presenting us with sensory qualities like colors, being analog in Dretske's sense, and being (...) fine-grained. However, only the latter have furthermore a perceptual phenomenology characterized by objectification and related dualities of perspectivality/completion and variation/constancy. Second, I elaborate on the reasons for thinking that both mere sensations and perceptual experiences need to be distinguished from accompanying seemings that passively assign things into conceptual categories and thereby tell you something about them. For example, when you look at a red apple and have the relevant recognitional abilities it will also normally seem to you that this is an apple. Finally, I argue that the best version of the popular dogmatist view about evidence is one which claims that it's neither experiences nor seemings by themselves, but rather the right sorts of composites of experiences and seemings that provide evidence. (shrink)

In this paper I critically examine uses of introspection in present-day philosophy of perception. First, I introduce a distinction between two different meanings of the term ‘introspection’: introspective access and introspective method. I show that they are both at work in the philosophy of perception but not adequately distinguished. I then lay out some concerns about the use of introspection to collect data about consciousness that were raised in over a hundred years ago, by some early experimentalist psychologists, part of (...) so-called ‘Introspectionist Psychology’. As I argue, these concerns apply to current philosophical uses of introspection but they are not acknowledged, much less addressed. I explain this by applying the distinction between introspective access and introspective method. As a result, extant arguments relying on introspection-based phenomenal descriptions are methodologically problematic. These problems do not call into question the use of introspection in theorising altogether. But we need to take more care in how we use it. (shrink)

Over the past twenty years, Husserlian phenomenology has increasingly drawn the attention of the cognitive community, thereby leading to the emergence of what might be called a phenomenological trend within contemporary cognitive studies. What this phenomenological trend really amounts to is however a matter of debate. The reason is that it embodies, in fact, a multifaceted reflection about the relevance of Husserlian phenomenology to the current efforts towards a scientific theory of cognition, and, to a lesser degree, about the reciprocal (...) relevance of these efforts to the fate of the Husserlian tradition. Indeed, it covers a wide array of perspectives on these questions, ranging from tentative demonstrations of the cognitively misleading character of Husserl's ideas, inasmuch as they would incarnate the same foundational errors as cognitivism, to diametrically opposed views arguing that the naturalist bent of contemporary cognitive science is ill-conceived, and that only the brand of transcendentalism defended by Husserl can provide it with adequate foundations. (shrink)

The Given: Experience and Its Contents By MontagueMichelleOxford University Press, 2016. xii + 250 pp. £35.00.

This meta-study of animal semantics is anchored in two claims, seemingly creating a fuzzy mismatch, that animal utterances generally appear to be simple in structure and content variation and that animals’ communicative understanding seems disproportionally more advanced. A set of excerpted, new studies is chosen as basis to discuss whether the semantics of animal uttering and understanding can be fused into one. Studies are prioritised due to their relatively complex designs, giving priority to dynamics between syntax, semantics, pragmatics, and between (...) utterers and receivers in context. A communicational framework based on utterance theory is applied as a lens for inspection of how these aspects relate to the assumed mismatch. Inspection and discussions of the studies bring several features to surface of which five are stressed in the following. Firstly, both syntactic structures and possible semantic content are seen as lean, although richer than earlier believed, and research continues to reveal new complexities in utterances. Secondly, there is a clear willingness to broaden the perception of animals’ semantic capacity to comprehend communication both by arguing theoretically and by generating empirical research in new contexts. Thirdly, the ambition to make sense of these tendencies is still often motivated by an evolutionary search for early building blocks for verbal language, with the pro et cons that such a position can have. Fourthly, the ‘allowed’ scientific frame for studying semantic capacity among animals is extended to new fields and contexts challenging the only-in-the-wild norm. Fifthly, the dilemma of integrating uttering and understanding as aspects of an after all functional communicational system, calls for new epistemological concepts to make sense of the claimed mismatch. Affordances, abduction, life-genre, and lifeworld are suggested. (shrink)

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (shrink)

A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

The disjunctive theory of perception claims that we should understand statements about how things appear to a perceiver to be equivalent to statements of a disjunction that either one is perceiving such and such or one is suffering an illusion (or hallucination); and that such statements are not to be viewed as introducing a report of a distinctive mental event or state common to these various disjoint situations. When Michael Hinton first introduced the idea, he suggested that the burden of (...) proof or disproof lay with his opponent, that what was needed was to show that our talk of how things look or appear to one.. (shrink)

Ciertas interpretaciones de la obra de Kuhn subrayan su contribución inconsciente al positivismo lógico, lo que es consecuencia de un conocimiento y una crítica superficiales de dicha corriente por su parte. En este artículo critico dicha tesis a partir de un texto inédito de Kuhn: The Quest for Physical Theory (1951), sus conferencias en el Instituto Lowell de Boston y una primera presentación del punto de vista de The Structure of Scientific Revolutions.