This paper claims that we have direct and complete perceptual access to other people’s emotions in their bodily and behavioural expression. The claim is understood, not by analogy with the perception of three-dimensional objects or physical processes, but as a form of Gestalt perception. In addition, talk of direct perceptual access to others’ emotions is shown not to entail a behaviourist view of mind; and talk of complete perceptual access is shown to include both the phenomenological character and the dispositional (...) nature of emotions. (shrink)

I distinguish three kinds of other minds problems—conceptual, epistemological and empirical. I argue that while Merleau-Ponty believes embodiment helps with tackling the conceptual and epistemological problems, he suggests that it is of no clear use in solving the empirical problem. I sketch some considerations that could lend support to Merleau-Ponty’s claims about the conceptual and epistemological problems, without claiming that these are conclusive. I then proceed to argue that Merleau-Ponty’s take on the empirical problem is essentially correct.

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)

Our knowledge of each others’ mental features is sometimes epistemically basic or non-inferential. The alternative to this claim is Inferentialism, the view that such knowledge is always epistemically inferential. Here, I argue that Inferentialism is not plausible. My argument takes the form of an inference to the best explanation. Given the nature of the task involved in recognizing what mental features others have on particular occasions, and our capacity to perform that task, we should not expect always to find good (...) inferential explanations of our knowledge. This conclusion is an epistemological one. The motivation for it is independent of metaphysical concerns about functionalism or about the best way to model the cognitive architecture which produces our knowledge of others’ minds. Given this it is compatible both with the truth of functionalism and theory–theory construed as a cognitive model. (shrink)

Although enactive approaches to cognition vary in terms of their character and scope, all endorse several core claims. The first is that cognition is tied to action. The second is that cognition is composed of more than just in-the-head processes; cognitive activities are externalized via features of our embodiment and in our ecological dealings with the people and things around us. I appeal to these two enactive claims to consider a view called “direct social perception” : the idea that we (...) can sometimes perceive features of other minds directly in the character of their embodiment and environmental interactions. I argue that if DSP is true, we can probably also perceive certain features of mental disorders as well. I draw upon the developmental psychologist Daniel Stern’s notion of “forms of vitality”—largely overlooked in these debates—to develop this idea, and I use autism as a case study. I argue further that an enactive approach to DSP can clarify some ways we play a regulative role in shaping the temporal and phenomenal character of the disorder in question, and it may therefore have practical significance for both the clinical and therapeutic encounter. (shrink)

In this paper, we first review recent arguments about the direct perception of the intentions and emotions of others, emphasizing the role of embodied interaction. We then consider a possible objection to the direct perception hypothesis from social psychology, related to phenomena like ‘dehumanization’ and ‘implicit racial bias’, which manifest themselves on a basic bodily level. On the background of such data, one might object that social perception cannot be direct since it depends on and can in fact be interrupted (...) by a set of cultural beliefs. We argue, however, that far from threatening the idea of direct perception, these findings clearly contradict the idea of hardwired theory of mind modules. More generally, we suggest that in order to further the understanding of social cognition we must take seriously insights about in-group and out-group distinctions and related phenomena, all of which are currently neglected in the mainstream social cognition literature. (shrink)

In this paper, I will argue in favor of a direct perception account of social cognition, focusing on the idea that we can directly grasp at least some mental states of others through their bodily expressions. I will investigate the way we should consider expressions and their relations to mental phenomena in order to defend DP. In order to do so, I will present Krueger and Overgaard’s idea of expressions as constitutive proper parts of the mental phenomena expressed and I (...) will show how this position can support DP. Then, I will present the way in which the authors seem to construe the relation of parthood between expressions and mental states – that is in terms of components of integral wholes, and I will introduce the possible issues that derive from this strategy. I will propose a different way to understand this parthood relation, referring to Husserl’s notion of moments as distinct from that of pieces. I will narrow my analysis to expressions of feelings, and I will try to argue that they can be described more aptly as moments of the feelings expressed. Finally, I will show how this account can support DP. (shrink)

I aim to develop an alternative theoretical model for the direct cognition of the elementary states of others called the theory of interaction (henceforth TI), also known as the “second person” approach. The model I propose emerges from a critical reformulation of the displaced perception model proposed by FRED DRETSKE (1995) for the introspective knowledge of our own mental states. Moreover, against Dretske, I argue that no meta-representation (second-order representation of a first-order representation as a representation) is involved in the (...) process, but only concepts, rudimentary enough, of others’ emotions: contentment and discontentment. Strictly speaking, all the empirical data and findings in developmental psychology only support the hypothesis that children in the pre-linguistic phase understand perceptual facial expressions of contentment and discontentment. My proposal consists of the following thesis: The direct perception of others' elementary mental states is not a perception in the usual sense of the word according to which we just perceive things, but rather a “perception of facts.” But how to understand that? It is nothing more than an epistemological process that is automatic and reliable at the same time. It is reliable in the epistemological-externalist sense of not involving any inference, reflection, theorizing or epistemic justification: a baby’s perception of her mom’s facial expression of discontentment (in the usual sense of “per- ception”) does not constitute a reason supporting the belief that mommy is discontent. The very word “belief” should not be understood in the usual sense but rather in the sense of a natural inclination for truth. But at the same time, it is automatic because the belief is a result or output of a process entirely subliminal and computational in nature. Thus, for instance, a child perceives that her mom is discontent (fact-awareness) by perceiving consciously (“perception” in the usual sense) a facial expression of discontentment (sensorial input) but recognizes that her mother is discontent as a result (output) of an entirely subliminal process. (shrink)

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...) faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular. (shrink)

We can know some things about each others' mental lives. The view that some of this knowledge is genuinely perceptual is getting traction. But the idea that we can see any of each others' mental states themselves - the Simple Perceptual Hypothesis - remains unpopular. Very often the view that we can perceptually know, for example, that James is angry, is thought to depend either on our awareness of James' expression or on the way James appears - versions of what (...) I call the Expressive Hypothesis. The Expressive Hypothesis is intuitive. But in this chapter I argue that it does not allow us to do away with the thought that we sometimes perceive people's mental states. I take my arguments to provide some tentative support for the Simple Perceptual Hypothesis. (shrink)

Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective (killer-cam), and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that (...) the faux-snuff film’s singular focus lays bare the killer-self. The killer’s identity is principally constituted by the murders they commit. Resultantly, faux-snuff’s victims necessarily affirm the killer qua killer in the moment of murder. However, homicide eradicates the victim. Victims thus vanish in the moment they become the killer’s counter-identity. Consequently, the mock-snuff film centralises not only killing, but also the killer’s self-abnegation. Simulated-snuff’s repeated murders are a compulsive process of becoming in which the killer-self is both reified and erased. Despite presenting events through the killer’s eyes then, the simulated-snuff film can never provide access to the killer. The killer is an absent-presence that also acts as a constant reminder that the viewer is profoundly distanced from the action depicted, despite its apparent immediacy. In sum, faux-snuff commonly combines first-person form with relentless violent content. That melding leads me to scrutinize the apparently absolute binary oppositions at the heart of self-conception. By nature of their approach, these films routinely expose the tipping points between victim/killer, self/other, and life/death. In doing so, simulated-snuff catalyses questions about the self in general, and about our own selves in particular,. (shrink)