Mohan Matthen holds that visual perceptual content is divided into descriptive and referential elements. Descriptive content is our awareness of sensory features belonging to objects located in the visual field. Matthen conceives of this in terms of an image. The referential element is a demonstrative form of content, by which we pick out those objects as particulars and assert their physical presence. Matthen terms this ‘the feeling of presence’. Together, they make up the ‘assembled message’ that visual states present to (...) the perceiver in perceptual experience. I argue that the two elements cannot play together as Matthen envisages. Beginning with the referential element, I show that the feeling of presence is unable to both provide demonstrative reference and assert that the visual state reflects how things are. Turning to the descriptive element, I argue that Matthen is committed to a view on which descriptive (or image) content is a mental entity, a reified image. This is a common element across perceptual experience, episodic memory and visual imagination. The mental entity proves a defective ingredient in assembling perceptual content that purports to present reality. There are problems integrating the depicted viewpoint with the subject’s actual viewpoint, and problems maintaining a coherent notion of assertion. I argue that the project of assembling perceptual experience from descriptive and referential elements is unworkable. (shrink)

Do perceptual experiences always inherit the content of their neural correlates? Most scientists and philosophers working on perception say ‘yes’. They hold the view that an experience’s content just is (i.e. is identical to) the content of its neural correlate. This paper presses back against this view, while trying to retain as much of its spirit as possible. The paper argues that type-2 blindsight experiences are plausible cases of experiences which lack the content of their neural correlates. They are not (...) experiences of the stimuli or stimulus properties prompting them, but their neural correlates represent these stimulus properties. The argument doesn’t depend on any special view of what it is for an experience to be of a stimulus or stimulus property. The upshot is that, even assuming there is a deep relationship between experiential content and neural content, that relationship is more complex than simple identity. (shrink)

When you hallucinate an object, you are not in the normal sort of concurrent causal sensory interaction with that object. It's standardly further inferred that the hallucinated object does not actually exist. But the lack of normal concurrent causal sensory interaction does not imply that there does not exist an object that is hallucinated. It might be a past‐perceived object. In this paper, I argue that this claim holds for at least some interesting cases of hallucination. Hallucinations generated by misleading (...) cues (e.g. ‘seeing’ Kanizsa triangles), hallucinations of Charles Bonnet Syndrome patients, and dreams are experiences of past‐perceived objects. (shrink)

In the philosophy of perception, objects are typically frontlit. But according to Roy Sorensen, backlit objects have surprising lessons to teach us about perception. In backlit conditions, ‘the principles of occlusion are reversed’, Sorensen (2008, p. 25) maintains. In particular, he claims we see the back surfaces of backlit objects. But as I argue in this paper, Sorensen’s arguments in support of those claims are flawed. After criticizing Sorensen’s arguments, I attempt to address a residual puzzle about backlit objects. The (...) upshot of the paper is that cases of backlighting do have important philosophical lessons to teach us after all – lessons concerning the notion of perceptual occlusion. (shrink)

Perception is a central means by which we come to represent and be aware of particulars in the world. I argue that an adequate account of perception must distinguish between what one perceives and what one's perceptual experience is of or about. Through capacities for visual completion, one can be visually aware of particular parts of a scene that one nevertheless does not see. Seeing corresponds to a basic, but not exhaustive, way in which one can be visually aware of (...) an item. I discuss how the relation between seeing and visual awareness should be explicated within a representational account of the mind. Visual awareness of an item involves a primitive kind of reference: one is visually aware of an item when one's visual perceptual state succeeds in referring to that particular item and functions to represent it accurately. Seeing, by contrast, requires more than successful visual reference. Seeing depends additionally on meta-semantic facts about how visual reference happens to be fixed. The notions of seeing and of visual reference are both indispensable to an account of perception, but they are to be characterized at different levels of representational explanation. (shrink)

What’s presented in our normal waking perceptual visual experiences feels present to us, while what we “see” in pictures and imagine does not. What about dreams? Does what we “see” in a dream feel present? Jennifer Windt has argued for an affirmative answer, for all dreams. But the dreams which flow from the brain’s registration of myoclonic twitches present a challenge to this answer. During these dreams motion-guiding vision is shut off, and, as Mohan Matthen has argued, motion-guiding vision seems (...) to be a key mechanism underlying the feeling of presence. I propose that the feeling of presence in fact involves two components: the feeling of immersion, and the feeling of availability for action. I suggest that only the feeling of availability for action derives from motion-guiding vision, and, hence, hypothesize that body-driven dreams lack this component to the feeling of presence. Finally, the distinction between these two varieties of presence has implications for measures of presence in virtual environments, as these measures can diverge over which of the two varieties they track. (shrink)