It is widely assumed that perception is a source of reasons (SR). There is a weak sense in which this claim is trivially true: even if one characterizes perception in purely causal terms, perceptual beliefs originate from the mind's interaction with the world. When philosophers argue for (SR), however, they have a stronger view in mind: they claim that perception provides pre- or non-doxastic reasons for belief. In this article I examine some ways of developing this view and criticize them. (...) I exploit these results to formulate a series of constraints that a satisfactory account of the epistemic role of perception should fulfil. I also make a positive suggestion: coherentists are right when they claim that only beliefs can be reasons for other beliefs. Nevertheless, I depart from traditional coherentism, for I do not buy its conception of perception as bare sensation, nor explicate the justificatory status of beliefs in terms of coherence. My point is rather that, when one invokes experience to justify a belief, the justifying state must have structural features of beliefs. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (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)

Neuropsychological findings used to motivate the "two visual systems" hypothesis have been taken to endanger a pair of widely accepted claims about spatial representation in conscious visual experience. The first is the claim that visual experience represents 3-D space around the perceiver using an egocentric frame of reference. The second is the claim that there is a constitutive link between the spatial contents of visual experience and the perceiver's bodily actions. In this paper, I review and assess three main sources (...) of evidence for the two visual systems hypothesis. I argue that the best interpretation of the evidence is in fact consistent with both claims. I conclude with some brief remarks on the relation between visual consciousness and rational agency. (shrink)

John Campbell argues that visual attention to objects is the means by which we can refer to objects, and that this is so because conscious visual attention enables us to retrieve information about a location. It is argued here that while Campbell is right to think that we visually attend to objects, he does not give us sufficient ground for thinking that consciousness is involved, and is wrong to assign an intermediary role to location. Campbell’s view on sortals is also (...) queried, as is his espousal of the so-called Referential View of Experience. (shrink)

Cross-modal perceptual illusions occur when a stimulus to one modality impacts perceptual experience associated with another modality. Unlike synaesthesia, cross-modal illusions are intelligible as results of perceptual strategies for dealing with sensory stimulation to multiple modalities, rather than as mere quirks. I argue that understanding cross-modal illusions reveals an important flaw in a widespread conception of the senses, and of their role in perceptual experience, according to which understanding perception and perceptual experience is a matter of assembling independently viable stories (...) about vision, audition, olfaction, and the rest. (shrink)

The ability to perceive the shapes of things as enduring through changes in how they stimulate our sense organs is vital to our sense of stability in the world. But what sort of capacity is shape constancy, and how is it reflected in perceptual experience? This paper defends a pluralist account of shape constancy: There are multiple kinds of shape constancy centered on geometrical properties at various levels of abstraction, and properties at these various levels feature in the content of (...) perceptual experience, governing patterns of apparent shape similarity. I propose that the varieties of shape constancy are subserved by the syntactic complexity of perceptual shape representations. By assigning discrete constituents to various abstract shape parameters, these representations attune us to the preservation of certain abstract shape properties through changes in more determinate shape properties. Finally, I draw broader lessons concerning the nature and function of perceptual constancy. (shrink)

A preview of my book *Perception*. Discusses the relationship between perception and the physical world and the issue of whether reality is as it appears. Useful examples are included throughout the book to illustrate the puzzles of perception, including hallucinations, illusions, the laws of appearance, blindsight, and neuroscientific explanations of our experience of pain, smell and color. The book covers both traditional philosophical arguments and more recent empirical arguments deriving from research in psychophysics and neuroscience. The addition of chapter summaries, (...) suggestions for further reading and a glossary of terms make Perception essential reading for anyone studying the topic in detail, as well as for students of philosophy of mind, philosophy of psychology and metaphysics. (shrink)

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

Philosophers of perception frequently assume that we see actual states of affairs, or facts. Call this claim factualism. In his book, William Fish suggests that factualism is supported by phenomenological observation as well as by experimental studies on multiple object tracking and dynamic feature-object integration. In this paper, I examine the alleged evidence for factualism, focusing mainly on object detection and tracking. I argue that there is no scientific evidence for factualism. This conclusion has implications for studies on the phenomenology (...) and epistemology of visual perception. (shrink)

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley fighting the monster but (...) one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

We perceive smells as perduring complex entities within a distal array that might be conceived of as smellscapes. However, the philosophical orthodoxy of Odor Theories has been to deny that smells are perceived as having a distal location. Recent challenges have been mounted to Odor Theories’ veracity in handling the timescale of olfactory perception, how it individuates odors as a distal entities, and their claim that olfactory perception is not spatial. The paper does not aim to dispute these criticisms. Rather, (...) what will be shown is that Molecular Structure Theory, a refinement of Odor Theory, can be further developed to handle these challenges. The theory is further refined by focusing on distal perception that requires considering the perceptual object as mereologically complex persisting odor against a background scene conceived of as a smellscape. What will be offered is an expansion of Molecular Structure Theory to account for distal smell perception within natural environments. (shrink)

In this initially daunting but ultimately enjoyable and informative book, Mohan Matthen argues that this tradition is mistaken about both the processes of perception or sensing and the relationship between sensation, perception, and cognition. Since this tradition is sufficiently alive and well in the contemporary literature to constitute something like the received view of perception and the role of sensation in it, Matthen’s challenge and the alternative view he proposes are potentially significant. Sensory systems, Matthen thinks, are primarily devices for (...) sorting objects into kinds, a process resulting in sensory quality spaces that provide the basis for judgments about and inductions over what there is in the world perceived. Sensory systems do not deliver ‘raw’ sense data, fleeting qualia, or unordered sensations for true cognitive processing; rather, they deliver an output that is sorted and ordered, an output that is already, in traditional terms, conceptualized. Sensory experience or sensations come not ‘before’ cognition but ‘after’ it. When we think about sensory systems in general, and not just the small subset of them that we possess, sensory experience is thus a kind of icing on the cake of perception, not one of its crucial ingredients. (shrink)

According to the Ability Hypothesis, knowing what it is like to have experience E is just having the ability to imagine or recognize or remember having experience E. I examine various versions of the Ability Hypothesis and point out that they all face serious objections. Then I propose a new version that is not vulnerable to these objections: knowing what it is like to experience E is having the ability to discriminate imagining or having experience E from imagining or having (...) any other experience. I argue that if we replace the ability to imagine or recognize with the ability to discriminate, the Ability Hypothesis can be salvaged. (shrink)

Recent work on signaling has mostly focused on communication between organisms. The Lewis–Skyrms framework should be equally applicable to intra-organismic signaling. We present a Lewis–Skyrms signaling-game model of painful signaling, and use it to argue that the content of pain is predominantly imperative. We address several objections to the account, concluding that our model gives a productive framework within which to consider internal signaling.

Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: Depicted objects are not perceived as present and We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate : the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate : they lead to appreciate spatial shifts resulting from (...) movement. However, anamorphic paintings do not violate : they are still perceived as clearly pictorial, that is, nonpresent. What about the relation between trompe l'oeil paintings and? Do trompe l'oeils allow us to perceive spatial shifts? Nobody has ever focused on this aspect of trompe l'oeil perception. I offer the first speculation about this question. I suggest that, if we follow our most recent theories in philosophy and vision science about the mechanisms of picture perception, then, the only plausible answer, in line with phenomenological intuitions, is that, differently from nonillusory, usual picture perception, and similarly to ordinary perception, trompe l'oeil perception does allow us to perceive spatial shifts resulting from movement. I also discuss the philosophical implications of this claim. (shrink)

Our successful engagement with the world is plausibly underwritten by our sensitivity to affordances in our immediate environment. The considerable literature on affordances focuses almost exclusively on affordances for bodily actions such as gripping, walking or eating. I propose that we are also sensitive to affordances for mental actions such as attending, imagining and counting. My case for this ‘Mental Affordance Hypothesis’ is motivated by a series of examples in which our sensitivity to mental affordances mirrors our sensitivity to bodily (...) affordances. Specifically, subjects perceive opportunities to perform a mental action and their doing so leads, under the right conditions, to the automatic preparation of that action. I conclude by sketching a mental affordance research program that would reinforce my case for the Mental Affordance Hypothesis and establish its ramifications for a number of debates across philosophy and psychology. (shrink)

We investigate the nature of the sense of presence that usually accompanies perceptual experience. We show that the notion of a sense of presence can be interpreted in two ways, corresponding to the sense that we are acquainted with an object, and the sense that the object is real. In this essay, we focus on the sense of reality. Drawing on several case studies such as derealization disorder, Parkinson’s disease and virtual reality, we argue that the sense of reality is (...) two-way independent from the spatial and sensory contents of experience. We suggest that the sense of reality is an affective experience akin to a metacognitive feeling. Finally, we present a potentially important implication of our account for the current debate between Intentionalism and Naïve Realism. Since perception is “opaque” with respect to the reality of what is perceived, Intentionalism cannot refer to the sense of reality as what differentiates perception from sensory-like experiences such as imaginings. In contrast, Naïve Realism has an independent explanation of the specificity of perception. (shrink)

Many have held that when a person visually attends to an object, her visual system deploys a representation that designates the object. Call the referential link between such representations and the objects they designate attentive visual reference. In this article I offer an account of attentive visual reference. I argue that the object representations deployed in visual attention—which I call attentive visual object representations —refer directly, and are akin to indexicals. Then I turn to the issue of how the reference (...) of an AVOR is determined relative to a context. After raising problems for existing accounts, I propose a mechanism of reference determination that is both causal and descriptive: For an AVOR to refer to a particular object, the object must appropriately cause the deployment of the AVOR, and the AVOR must be associated with descriptive information about some of the object's geometrical and mereological properties. (shrink)

This article focuses on a potentially perplexing aspect of our interactions with pictorial representations : in some cases, it seems that visual representations can play tricks on our cognitive faculties. We may either come to believe that objects represented in pictures are real or perhaps perceive them as such. The possibility of widespread pictorial illusions has been oft discussed, and discarded, in the aesthetics literature. I support this stance. However, the nature of the illusion is more complicated than is usually (...) considered. I argue that there are five different types of potential illusions and present reasons for rejecting each. I also explore in detail the most persistent illusion: the “object recognition perceptual illusion thesis,” which states that we undergo a perceptual illusion while viewing pictorial representations simply in virtue of seeing objects in the representation. I contend that a rejection of this thesis depends on the nature of perceptual content, an issue with far-reaching consequences in aesthetics. (shrink)

Endogenous depression is highly correlated with low levels of serotonin in the central nervous system. Does this imply or suggest that this sort of depression just is this neurochemical deficit? Scorning such an inference, Antonio Damasio writes:If feeling happy or sad … corresponds in part to the cognitive modes under which your thoughts are operating, then the explanation also requires that the chemical acts on the circuits which generate and manipulate [such thoughts]. Which means that reducing depression to a statement (...) about the availability of serotonin or norepinephrine in general- a popular statement in the days and age of Prozac- is unacceptably rude.Damasio's thought is that depression is essentially a modification of how we perceive the world, reason about it, and make decisions about how to act in it - in other words, that it is essentially cognitive. A reduced level of serotonin might cause the said modification, but no adequate account of depression would identify the malady with its cause. A proper account would minimally need to say how cognitive processing is affected by a reduced level of serotonin. (shrink)

The transparency of perceptual experience has been invoked in support of many views about perception. I argue that it supports a form of enactivism—the view that capacities for perceptual experience and for intentional agency are essentially interdependent. I clarify the perceptual phenomenon at issue, and argue that enactivists should expect to find a parallel instance of transparency in our agentive experience, and that the two forms of transparency are constitutively interdependent. I then argue that i) we do indeed find such (...) parallels: the way in which an action is directed towards its goal through our bodily movements parallels the way in which an experience is directed towards its object through our perceptual sensation, and ii) reflecting on sensorimotor skills shows why the two instances of transparency are constitutively interdependent. Section 4 gives reasons for generalizing beyond the cases considered so far by applying the enactive view to Kohler's landmark studies of perceptual adaptation. The final section clarifies the form of enactivism to which the previous sections point. The view that emerges is one whereby our perceptual and practical skills are interrelated aspects of a single capacity to have one's mind intentionally directed upon the world. The transparency of experience, on this view, is achieved in virtue of our capacities as agents as much as it is given in virtue of our capacities as perceivers. (shrink)

Milner and Goodale's Two Visual Systems Hypothesis is regarded as common ground in recent discussions of visual consciousness. A central part of TVSH is a functional model of vision and action. In this paper, I provide a brief overview of these current discussions and argue that there is ambiguity between a strong and a weak version of PAM. I argue that, given a standard way of individuating computational mechanisms, the available evidence cannot be used to distinguish between these versions. This (...) not only has consequences for philosophical theories of the role of visual consciousness but also for the role of experimental evidence in model testing in cognitive neuroscience. (shrink)

Colours appear to instantiate a number of structural properties: for instance, they stand in distinctive relations of similarity and difference, and admit of a fundamental distinction into unique and binary. Accounting for these structural properties is often taken to present a serious problem for physicalist theories of colour. This paper argues that a prominent attempt by Byrne and Hilbert to account for the structural properties of the colours, consistent with the claim that colours are types of surface spectral reflectance, is (...) unsuccessful. Instead, it is suggested that a better account of the structural properties of the colours is provided by a form of non-reductive physicalism about colour: a naïve realist theory of colour, according to which colours are superficial mind-independent properties. (shrink)

In this paper, I want to argue for two main and related points. First, I want to defend Richard Wollheim’s well-known thesis that the twofold mental state of seeing-in is the distinctive pictorial experience that marks figurativity. Figurativity is what makes a representation pictorial, a depiction of its subject. Moreover, I want to show that insofar as it is a mark of figurativity, all seeing-in is inflected. That is to say, every mental state of seeing-in is such that the characterisation (...) of the properties by which a certain subject is seen in a given picture as having refers to the design properties of the picture’s vehicle, i.e., to the visible surface properties of that vehicle that are responsible for the fact that one such subject is seen in it, precisely taken in such a design role. Finally, I will try to show that seeing-in is qualified by inflection independently of whether it is conscious or unconscious seeing-in. (shrink)

Hardin’s empirically-grounded argument for color eliminativism has defined the color realism debate for the last 30 years. By Hardin’s own estimation, phenomenal structure—the unique/binary hue distinction in particular—poses the greatest problem for color realism. Examination of relevant empirical findings shows that claims about the unique hues which play a central role in the argument from phenomenal structure should be rejected. Chiefly, contrary to widespread belief amongst philosophers and scientists, the unique hues do not play a fundamental role in determining all (...) color appearances. Among the consequences of this result is that greater attention should be paid to certain proposals for putting the structure of phenomenal color into principled correspondence with surface reflectance properties. While color realism is not fully vindicated, it has much greater empirical plausibility than previously thought. (shrink)

This entry outlines relationalism, primitivism, and eliminativism about color and considers objections to each theory.

It is a common assumption among philosophers of perception that phenomenal colors are exhaustively characterized by the three phenomenal dimensions of the color solid: hue, saturation and lightness. The hue of a color is its redness, blueness or yellowness, etc. The saturation of a color refers to the strength of its hue in relation to gray. The lightness of a color determines its relation to black and white. In this paper, I argue that the phenomenology of shadows forces us to (...) consider illumination as an additional dimension of phenomenal colors. For this purpose, I will first introduce two different interpretations of shadow-experiences, which Chalmers has called the simple and the complex interpretations, and show that they both fail to account for important phenomenal facts about shadow-experiences. I will then introduce my own alternative interpretation based on the idea that illumination is a dimension of phenomenal colors and explain how it can account for these facts. (shrink)

Some people have stressed that there is a close analogy between meaning experiences, i.e., experiences as of understanding concerning linguistic expressions, and seeing-in experiences, i.e., pictorial experiences of discerning a certain item – what a certain picture presents, viz. the picture’s subject – in another item – the picture’s vehicle, the picture’s physical basis. Both can be seen as fusion experiences, in the minimal sense that they are experiential wholes made up of different aspects. Actually, two important similarities between such (...) experiences may lead one to think that they are experiences of the same type. In this paper, however, I will try to show that notwithstanding such similarities, these experiences are typologically different. For there are two dissimilarities between such experiences that are more relevant on this typological concern than their similarities. Indeed, unlike meaning experiences, seeing-in experiences are first of all recognitional experiences of a sort that makes them perceptual experiences as well. Moreover, again unlike meaning experiences, seeing-in experiences are fusion experiences in the substantial sense that the experiential whole is more than the sum of its experiential parts taken in isolation, for when such parts figure in that whole, they interact with each other. In a nutshell, unlike meaning experiences, seeing-in experiences are proper fusion experiences. (shrink)

This article proposes a locative function as a defining feature of situated art. All artworks orient their beholders, but situated art is characterized by this context-sensitive orientation entering the work’s content. In so doing, it facilitates ‘here’- and ‘now’-thoughts, not only towards the “real” situation encountered (the work’s outer orientation) but to the work’s “virtual” or “bracketed” realm (its inner orientation). These orientations overlap, but do not necessarily align; indeed, situated works often construct a tension through a deliberate miscalibration of (...) these orientations. But what is the mechanism by which such works afford indexical thought towards their worlds? Drawing upon Gareth Evans’s account of demonstrative content, I contend that sensory imagination—conceived in Evans’s terms as an additional conceptual component—plays a necessary role in negotiating demonstrative thought towards two (or more) separate spaces conceived as “here.” This is something the beholder brings to the work. (shrink)

In this paper I contrast the geometric structure of phenomenal visual space with that of photographic images. I argue that topologically both are two-dimensional and that both involve central projections of scenes being depicted. However, I also argue that the metric structures of the spaces differ inasmuch as two types of “apparent distortions”—marginal distortion in wide-angle photography and close-up distortions—which occur in photography do not occur in the corresponding visual experiences. In particular, I argue that the absence of marginal distortions (...) in vision is evidence for a holistic metric of visual space that is spherical, and that the absence of close-up distortions shows that the local metric structure possesses a dynamic variable curvature which is dependent upon the distance away of objects being viewed at a given time. (shrink)