Introduction to the topical collection "The Structure of Perceptual Objects"—with contributions by Mohan Matthen, EJ Green, Alisa Mandrigin, Blazej Skrzypulec, and Anna Drożdżowicz.

While there is a growing philosophical interest in analysing olfactory experiences, the mereological structure of odours considered in respect of how they are perceptually experienced has not yet been extensively investigated. The paper argues that odours are perceptually experienced as having a mereological structure, but this structure is significantly different from the spatial mereological structure of visually experienced objects. Most importantly, in the case of the olfactory part-structure, the classical weak supplementation principle is not satisfied. This thesis is justified by (...) referring to empirical results in olfactory science concerning the human ability to identify components in complex olfactory stimuli. Further, it is shown how differences between olfactory and visual mereologies may arise from the way in which these modalities represent space. (shrink)

It is a distinctive mark of normal conscious perception that perceived objects are experienced as actually present in one’s surroundings. The aim of this paper is to offer a phenomenologically accurate and empirically plausible account of the cognitive underpinning of this feature of conscious perception, which I shall call perceptual presence. The paper begins with a preliminary characterization of. I then consider and criticize the seminal account of proposed by Mohan Matthen. In the remainder of the paper I put forward (...) and defend my own attentional account. I first outline a simple version of the view by focusing on vision and then extend it to audition. After discussing the case of depersonalization, I consider some objections. The last objection, in particular, will motivate a refinement of the attentional account for the visual case. The paper ends with some remarks mainly about the specificity of the visual case vis-à-vis the auditory one. (shrink)

Much of the philosophical work on perception has focused on vision. Recently, however, philosophers have begun to correct this ‘tunnel vision’ by considering other modalities. Nevertheless, relatively little has been written about the chemical senses—olfaction and gustation. The focus of this paper is olfaction. In light of new physiological and psychophysical research on olfaction, I consider whether olfactory experience is object-based. In particular, I explore the claim that “odor objects” constitute sensory individuals. It isn’t obvious—at least at the outset—whether they (...) meet the widely accepted principles of object individuation and recognition at work in the visual and auditory cases. Among the general issues I consider, then, is whether these traditional principles form necessary, or simply sufficient, conditions on object perception. As we see, at the very least, considering the object-recognition model of olfaction challenges us to look more closely at well-entrenched models of object perception. But the payoff of doing so is high. We not only learn something about a modality that philosophers have historically neglected; by asking new questions and challenging old assumptions, we also further our understanding of perception in general. (shrink)

In "What the Nose Doesn't Know", I argue that there are no olfactory illusions. Central to the traditional notions of illusion and hallucination is a notion of object-failure—the failure of an experience to represent particular objects. Because there are no presented objects in the case of olfactory experience, I argue that the traditional ways of categorizing non-veridical experience do not apply to the olfactory case. In their place, I propose a novel notion of non-veridical experience for the olfactory case. In (...) his (2011), Stevenson responds to my claim that there are no olfactory illusions. Although he agrees that it is natural—or at least commonplace—to think there are no olfactory illusions, he argues that there are and provides examples of them, many of which he suggests have analogues in the visual and auditory domains. In this paper, I examine the nature of the disagreement between us. I argue that Stevenson fails to argue against my conclusion that there are no olfactory illusions. (shrink)

In this paper we offer a theory of cross-modal objects. To begin, we discuss two kinds of linkages between vision and audition. The first is a duality. The the visual system detects and identifies surfaces ; the auditory system detects and identifies sources . Surfaces are illuminated by sources of light; sound is reflected off surfaces. However, the visual system discounts sources and the auditory system discounts surfaces. These and similar considerations lead to the Theory of Indispensable Attributes that states (...) the conditions for the formation of gestalts in the two modalities. The second linkage involves the formation of audiovisual objects, integrated cross-modal experiences. We describe research that reveals the role of cross-modal causality in the formation of such objects. These experiments use the canonical example of a causal link between vision and audition: a visible impact that causes a percussive sound. (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)

Object perception deploys a suite of perceptual capacities that constrains attention, guides reidentification, subserves recognition, and anchors demonstrative thought. Objects for perception—perceptual objects—are the targets of such capacities. Characterizing perceptual objects for multisensory perception faces two puzzles. First is the diversity of objects across sensory modalities. Second is the unity of multisensory perceptual objects. This paper resolves the puzzles. Objects for perception are structured mereologically complex individuals. Perceptual objects are items that bear perceptible features and have perceptible parts arranged to (...) form a unified whole. This circumscribes the targets of object perception where neutral talk concerning intentional objects and objects of perception cannot. Nonetheless, it is more permissive than identifying perceptual objects with material bodies, which excludes too much and leans too heavily on vision. The account thus is tailored to capture the role of objects in perception beyond vision: tactual, auditory, and olfactory objects are individuals with differing structures. Its flexibility also enables the account to accommodate shared objects for multisensory perception: multisensory perceptual objects are mereologically complex individuals with hybrid structure. For instance, one can bimodally perceive a common whole with parts accessible to one but not both modalities. Each sense provides a partial perspective on a complex whole that is perceptible through the coordinated use of multiple senses. Understanding perceptual objects as structured mereologically complex individuals thus provides a theoretically useful notion of an object for multisensory perception that resolves the puzzles of diversity and of unity. (shrink)

The aim of this paper is, firstly, to identify the areas of conceptual confusion about the notion of auditory object that could benefit from a cooperation between philosophy and psychology of perception. Secondly, I try to clarify in what sense there may be individual entities that exist only in time focusing on auditory objects, and to establish what kind of relationship links the existence of such purely temporal entities with the existence of spatiotemporal entities such as bodies or physical objects. (...) Finally, a new definition of auditory object, conceived as a partially mind-dependent object, or Meinongian higher-order object based on inferiora, is discussed. (shrink)

Objects are central to perception and our interactions with the world. We perceive the world as parsed into discrete entities that instantiate particular properties, and these items capture our attention and shape how we interact with the environment. Recently there has been some debate about whether the sense of smell allows us to perceive odours as discrete objects, with some suggesting that olfaction is aspatial and doesn’t allow for object-individuation. This paper offers two empirically tractable criteria for assessing whether particular (...) objects are exhibited in perceptual experience— susceptibility to figure-ground segregation and perceptual constancies—and argues that these criteria are fulfilled by olfactory perception, and thus there are olfactory objects. I argue that there are, in fact, two different ways that olfaction allows for figure-ground segregation. First, I look at various Gestalt grouping principles, which are thought to govern when features are perceived as grouped into structured wholes, segregated from everything around them. I argue that these principles apply to olfactory experience, providing evidence of non-spatial figure-ground segregation. Second, I defend the contentious idea that a spatial variety of figure-ground segregation can also occur in olfaction. To see this, however, we need to look to empirical evidence showing that tactile stimulation and bodily movements play a crucial role in olfactory phenomenology. Finally, I draw on empirical evidence and olfactory phenomenology to argue that there are perceptual constancies in olfactory experience, allowing us to perceive odours as coherent objects that survive shifts in our perspectives on the world. (shrink)

The participants in the present study had to make speeded elevation discrimination responses to visual targets presented to the left or right of central fixation following the presentation of a task-irrelevant auditory cue on either the same or opposite side. In Experiment 1, the cues were presented from in front of the participants (from the same azimuthal positions as the visual targets). A standard crossmodal exogenous spatial cuing effect was observed, with participants responding significantly faster in the elevation discrimination task (...) to visual targets when both the auditory cues and the visual targets were presented on the same side. Experiment 2 replicated the exogenous spatial cuing effect for frontal visual targets following both front and rear auditory cues. The results of Experiment 3 demonstrated that the participants had little difficulty in correctly discriminating the location from which the sounds were presented. Thus, taken together, the results of the three experiments reported here demonstrate that the exact co-location of auditory cues and visual targets is not necessary to attract spatial attention. Implications of these results for the design of real-world warning signals are discussed. (shrink)

Two priming experiments demonstrated exogenous attentional persistence to the fundamental auditory dimensions of frequency (Experiment 1) and time (Experiment 2). In a divided-attention task, participants responded to an independent dimension, the identification of three-tone sequence patterns, for both prime and probe stimuli. The stimuli were specifically designed to parallel the local–global hierarchical letter stimuli of [Navon D. (1977). Forest before trees: The precedence of global features in visual perception. Cognitive Psychology, 9, 353–383] and the task was designed to parallel subsequent (...) work in visual attention using Navon stimuli [Robertson, L. C. (1996). Attentional persistence for features of hierarchical patterns. Journal of Experimental Psychology: General, 125, 227–249; Ward, L. M. (1982). Determinants of attention to local and global features of visual forms. Journal of Experimental Psychology: Human Perception and Performance, 8, 562–581]. The results are discussed in terms of previous work in auditory attention and previous approaches to auditory local–global processing. (shrink)

Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial phenomenology. I defend three proposals. First, audition furnishes one with information about the locations of things and happenings in one’s environment because auditory experience itself has spatial content—auditory experience involves awareness of space. Second, we hear the locations of things and events by or in hearing the locations of their sounds. (...) Third, we auditorily experience sounds themselves as having relatively stable distal locations. I reject skepticism about spatial audition and auditory experience tracing to Strawson’s Individuals , and suggest that spatial auditory experience grounds a form of perceptual access to objects and events that is critical to negotiating one’s environment. (shrink)

This paper argues that a theory of situated vision, suited for the dual purposes of object recognition and the control of action, will have to provide something more than a system that constructs a conceptual representation from visual stimuli: it will also need to provide a special kind of direct (preconceptual, unmediated) connection between elements of a visual representation and certain elements in the world. Like natural language demonstratives (such as `this' or `that') this direct connection allows entities to be (...) referred to without being categorized or conceptualized. Several reasons are given for why we need such a preconcep- tual mechanism which individuates and keeps track of several individual objects in the world. One is that early vision must pick out and compute the relation among several individual objects while ignoring their properties. Another is that incrementally computing and updating representations of a dynamic scene requires keeping track of token individuals despite changes in their properties or locations. It is then noted that a mechanism meeting these requirements has already been proposed in order to account for a number of disparate empiri- cal phenomena, including subitizing, search-subset selection and multiple object tracking (Pylyshyn et al., Canadian Journal of Experimental Psychology 48(2) (1994) 260). This mechanism, called a visual index or FINST, is brie. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of the (...) relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

Recent work on non-visual modalities aims to translate, extend, revise, or unify claims about perception beyond vision. This paper presents central lessons drawn from attention to hearing, sounds, and multimodality. It focuses on auditory awareness and its objects, and it advances more general lessons for perceptual theorizing that emerge from thinking about sounds and audition. The paper argues that sounds and audition no better support the privacy of perception’s objects than does vision; that perceptual objects are more diverse than an (...) exclusively visual perspective suggests; and that multimodality is rampant. In doing so, it presents an account according to which audition affords awareness as of not just sounds, but also environmental happenings beyond sounds. (shrink)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger than just that of an intentional (...) object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

Philosophical tradition holds that sounds, like colors, are sensible properties. Recently, however, there is a growing consensus in favor of the view that sounds are particulars, not properties. This article bucks the trend: it argues for the Event-Property View of Sounds – a widely overlooked and intuitively plausible version of the traditional view that not only avoids the difficulties that have led philosophers to opt for particularist alternatives, but does justice to the best insights of recent philosophical and empirical work (...) on audition. In other words, it saves the truth in tradition by transforming it in light of new insight. (shrink)

This paper aims to elucidate a kind of ignorance that is more fundamental than a momentary lack of information, but also not a kind of ignorance that is built into the subject’s cognitive apparatus such that the subject can’t do anything about it. The paper sets forth the notion of cognitive confinement, which is a contingent, yet relatively stable state of being structurally or systematically unable to gain information from an environment, determined by patterns of interaction between the subject and (...) the world. In order to unpack the idea of cognitive confinement the paper discusses niche construction theory, and then, in greater detail, the notion of cognitive niche once proposed by John Tooby and Irven DeVore. Cognitive confinement is here imagined as a pathologized form of cognitive niche. This posit is substantiated by referring to a case that has come to the fore in recent years and raised debate around the world: the rise of so-called filter bubbles. They turn out to be instantiations of a more general phenomenon of cognitive confinement. (shrink)

The paper discusses the concept of the cognitive niche and distinguishes the latter from the metabolic niche. By using these posits I unpack certain ideas that are crucial for the enactivist movement, especially for its original formulation proposed by Varela, Thompson and Rosh. Drawing on the ontology of location, boundaries, and parthood, I argue that enacting the world can be seen as the process of cognitive niche construction. Moreover, it turns out that enactivism—as seen through the lens of the conceptual (...) framework proposed in the paper—considers cognition as a kind of connection between the subject and the world. This post is pointed to as the key idea laid down in enactivism. (shrink)

Editorial: Objects and Sound Perception Content Type Journal Article Pages 5-17 DOI 10.1007/s13164-009-0006-3 Authors Nicolas J. Bullot, École des Hautes Études en Sciences Sociales Centre de Recherches sur les Arts et le Langage (CRAL/CNRS) 96 Bd Raspail 75006 Paris France Paul Égré, Institut Jean-Nicod (ENS/EHESS/CNRS) Département d’Etudes Cognitives de l’ENS 29 rue d’Ulm 75005 Paris France Journal Review of Philosophy and Psychology Online ISSN 1878-5166 Print ISSN 1878-5158 Journal Volume Volume 1 Journal Issue Volume 1, Number 1.

Following on from ecological theories of perception, such as the one proposed by [Gibson, J. J. . The senses considered as perceptual systems. Boston: Houghton Mifflin] this paper reviews the literature on the multisensory interactions underlying the perception of flavor in order to determine the extent to which it is really appropriate to consider flavor perception as a distinct perceptual system. We propose that the multisensory perception of flavor may be indicative of the fact that the taxonomy currently used to (...) define our senses is simply not appropriate. According to the view outlined here, the act of eating allows the different qualities of foodstuffs to be combined into unified percepts; and flavor can be used as a term to describe the combination of tastes, smells, trigeminal, and tactile sensations as well as the visual and auditory cues, that we perceive when tasting food. (shrink)

This article aims to investigate the relationship between music and Mimmo Paladino s figurative work throughout his career. Starting as a painter of silence, an artist finding shelter in silence to paint, Paladino then engaged in an increasingly dense dialogue with the art of sounds. He is convinced that the creation of music stemming from tonal harmony is parallel to the creation of the work of art originated from formal harmony, and believes that the elements of his compositions can be (...) compared to counterpoints, notes, intervals, rhythms and musical harmonies. It is a long and complex path that led - and this is recent history - to the two collaborations with the non-musician Brian Eno, whose works this article will extensively dwell on. (shrink)

Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound perception (...) in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms. (shrink)

We explore experimental methods used to study the phenomena of perceptual organization, first studied by the Gestalt psychologists. We describe an application of traditional psychophysics to perceptual organization and offer alternative methods. Among these, we distinguish two approaches that use multistable stimuli: (1) phenomenological psychophysics, in which the observer's response is assumed to accurately and directly reflect perceptual experience; and (2) the interference paradigm, in which an observer's response is evaluated as correct or incorrect because it pertains to a corrigible (...) task, but does not directly reflect the observer's experience. We show that phenomenological psychophysics can yield valuable information about perceptual organization and lends itself to the development of quantitative theory. We discuss some criticisms of the method and argue that the two approaches that use multistable stimuli are complementary. We also compare each of the approaches with traditional psychophysics. We conclude that the several methods are convergent. (shrink)

This paper examines the applicability of the object concept to the chemical senses, by evaluating them against a set of criteria for object‐hood. Taste and chemesthesis do not generate objects. Their parts, perceptible from birth, never combine. Orthonasal olfaction (sniffing) presents a strong case for generating objects. Odorants have many parts yet they are perceived as wholes, this process is based on learning, and there is figure‐ground segregation. While flavors are multimodal representations bound together by learning, there is no functional (...) need for flavor objects in the mouth. Rather, food identification occurs prior to ingestion using the eye and nose, with the latter retrieving multimodal flavor objects via sniffing (e.g.,sweetsmelling caramel). While there are differences in object perception between vision, audition, and orthonasal olfaction, the commonalities suggest that the brain has adopted the same basic solution when faced with extracting meaning from complex stimulus arrays. (shrink)

Sensory substitution presents the philosopher of cognitive science with a particularly interesting case. Using prosthetics to map visual stimuli onto other modalities, such as touch or audition, otherwise blind individuals may develop perceptual capacities and behaviours commonly associated with sight. Experienced users can distinguish ‘visually’ presented objects and will even jerk back from a looming surface. Whether perception with sensory substitution devices should be classed as a type of vision, some other modality, or a new sense remains a matter of (...) debate, however. In the following, I review arguments commonly used to rebut the visual interpretation and, drawing on recent experimental studies and phenomenological self-reports, construct a novel case for treating sensory substitution as a visual process. (shrink)

How do humans manage to keep track of a gradually changing object or person as the same persisting individual despite the fact that the extraction of information about this individual must often rely on heterogeneous information sources and heterogeneous tracking methods? The article introduces the Empirical Tracking of Individuals theory to address this problem. This theory proposes an analysis of the concept of integrated tracking, which refers to the capacity to acquire, store, and update information about the identity and location (...) of individuals in our environment. It hypothesizes that certain functions of attention are a key to explaining how the cognitive flexibility of the human mind overcomes the heterogeneity of sources and methods in integrated tracking. At least two premises lend support to this hypothesis. First, heterogeneity of tracking sources is overcome by the combination of information from multiple perceptual modalities and a phenomenon of multisensory 'transparency'. Second, heterogeneity of tracking sources and methods may also be overcome by inferences that combine information across domains to acquire reasons to believe propositions about the target's location and identity. (shrink)