Seattle rain smelled different from New Orleans rain…. New Orleans rain smelled of sulfur and hibiscus, trumpet metal, thunder, and sweat. Seattle rain, the widespread rain of the Great Northwest, smelled of green ice and sumi ink, of geology and silence and minnow breath.— Tom Robbins, Jitterbug PerfumeMuch of the philosophical literature on perception has focused on vision. This is not surprising, given that vision holds for us a certain prestige. Our visual experience is incredibly rich, offering up a mosaic (...) of apparent three-dimensional objects. For this reason, it is commonplace to suppose that visual experience is world-directed, with the view taking its most popular form in the representational, or content, view. World-directed views contrast with what we might call subjectivist views — views according to which experiences are raw feels or mere sensations. (shrink)

In ‘The Ockhamization of the event sources of sound’ (2013), Roberto Casati, Elvira Di Bona, and Jérôme Dokic argue that ‘ockhamizing’ Casey O’Callaghan’s account of sounds as proper parts of their event sources yields their preferred view: that sounds are identical with their event sources. This article argues that the considerations Casati et al. marshal in favor of their view are actually stronger considerations in favor of a quite different view: a variant on the Lockean conception of sounds as ‘sensible (...) qualities’ that treats sounds as audible properties of their event sources. (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

A crucial question for a process view of life is how to identify a process and how to follow it through time. The genidentity view can contribute decisively to this project. It says that the identity through time of an entity X is given by a well-identified series of continuous states of affairs. Genidentity helps address the problem of diachronic identity in the living world. This chapter describes the centrality of the concept of genidentity for David Hull and proposes an (...) extension of Hull’s view to the ubiquitous phenomenon of symbiosis. Finally, using immunology as a key example, it shows that the genidentity view suggests that the main interest of a process approach is epistemological rather than ontological and that its principal claim is one of priority, namely that processes precede and define things, and not vice versa. (shrink)

Philosophers often state that the persistence of objects in vision is experienced differently than the persistence of sounds in audition. This difference is expressed by using metaphors from the metaphysical endurantism/perdurantism debate. For instance, it is claimed that only sounds are perceived as “temporally extended”. The paper investigates whether it is justified to characterize visually experienced objects and auditorily experienced sounds as different types of entities: endurants and perdurants respectively. This issue is analyzed from the perspective of major specifications of (...) the endurance/perdurance distinction connected, inter alia, with the notions of temporal parts and temporal localization. It is argued that it is unjustified to characterize visually experienced objects and auditorily experienced sounds as different types of entities in respect of how they persist. On the other hand, the apparent difference in the way of persisting can be explained by the presence of contingent differences between typical visual and auditory experiences. (shrink)

In this paper I consider two related issues raised by Aristotle 's treatment of hearing and sounds. The first concerns the kinds of changes Aristotle takes to occur, in both perceptual medium and sense organs, when a perceiver hears a sounding object. The second issue concerns Aristotle 's views on the nature and location of the proper objects of auditory perception. I argue that Aristotle 's views on these topics are not what they have sometimes been taken to be, and (...) that when rightly understood they compare favourably in many respects with leading contemporary accounts. (shrink)

This paper examines the experience of where we end and the rest of the world begins, that is, the sense of boundaries. Since meditators are recognized for their ability to introspect about the bodily level of experience, and in particular about their sense of boundaries, 27 senior meditators were interviewed for this study. The main conclusions of this paper are that the boundaries of the so-called “physical body” are not equivalent to the individual's sense of boundaries; the sense of boundaries (...) depends upon sensory activity; the sense of boundaries should be defined according to its level of flexibility; the sense of body ownership cannot be reduced to the sense of boundaries; nevertheless, the sense of ownership depends on the level of flexibility of the sense of boundaries. (shrink)

When you hear a person speaking in a familiar language you perceive the speech sounds uttered and the voice that produces them. How are speech sounds and voice related in a typical auditory experience of hearing speech in a particular voice? And how to conceive of the objects of such experiences? I propose a conception of auditory objects of speech perception as temporally structured mereologically complex individuals. A common experience is that speech sounds and the voice that produces them appear (...) united. I argue that the metaphysical underpinnings of the experienced unity of speech sounds and voices can be explained in terms of the mereological view on sounds and their sources. I also propose a psychological explanation of how we form and individuate the auditory objects of experiences of listening to speech in a particular voice. Voice characteristics enable determining the identity of auditory objects of speech sound perception by making some features of the speech signal stable and predictable. (shrink)

Bobier argued that hope is necessary for practical deliberation. I will demonstrate that Bobier’s argument for this thesis fails. The problem is that one of its main premisses rests on a sufficient condition for hoping that is subject to counterexamples. I consider two ways to save the argument, but show that they are unsuccessful in doing so.

How much does stimulus input shape perception? The common-sense view is that our perceptions are representations of objects and their features and that the stimulus structures the perceptual object. The problem for this view concerns perceptual biases as responsible for distortions and the subjectivity of perceptual experience. These biases are increasingly studied as constitutive factors of brain processes in recent neuroscience. In neural network models the brain is said to cope with the plethora of sensory information by predicting stimulus regularities (...) on the basis of previous experiences. Drawing on this development, this chapter analyses perceptions as processes. Looking at olfaction as a model system, it argues for the need to abandon a stimulus-centred perspective, where smells are thought of as stable percepts, computationally linked to external objects such as odorous molecules. Perception here is presented as a measure of changing signal ratios in an environment informed by expectancy effects from top-down processes. (shrink)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the audible (...) qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)

This paper aims to provide an empirically informed sketch of how our perceptual capacities can interact with cognitive processes to give rise to new perceptual attributives. In section 1, I present ongoing debates about the reach of perception and direct focus toward arguments offered in recent work by Tyler Burge and Ned Block. In section 2, I draw on empirical evidence relating to language processing to argue against the claim that we have no acquired, culture-specific, high-level perceptual attributives. In section (...) 3, I turn to the cognitive dimension; I outline how cognitive procedures can be involved in the acquisition of what ought to, nonetheless, be recognized as genuinely perceptual capacities. Finally, in section 4, I argue for the importance of distinguishing these conclusions from more familiar and radical claims about rampant “cognitive penetration” into the perceptual domain. (shrink)

The way in which vision represents objects as being the same despite movement and qualitative changes has been extensively investigated in contemporary psychology. However, the formal properties of the visual sameness relation are still unclear, for example, whether it is an identity-like, equivalence relation. The paper concerns one aspect of this problem: the transitivity of visual sameness. Results obtained by using different experimental paradigms are analysed, in particular studies using streaming/bouncing stimuli, multiple object tracking experiments and investigations concerning object-specific preview (...) benefit, and it is argued that the transitive interpretation of visual sameness is the most plausible given the current stage of knowledge. What is more, it is claimed that the way in which visual sameness is represented suggests that in some cases it should be characterized as a “primitive sameness”, similarly as in philosophical theories postulating “thisness”. (shrink)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we hear (...) sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

The paper presents and discusses phenomenological facts about perceptual spaces and percepts, but ends with a few thoughts about possible causal explanations of such spaces. The overarching double-sided hypothesis claims that - from a phenomenological point of view - each individual animal has at each consciously perceived moment of time a sense-modality-neutral perceptual space, and that these perceptual spaces are so-called container spaces. This means, to be concrete, that blind persons, deaf persons, and all perceptually non-handicapped persons have the same (...) kind of phenomenological perceptual space, a sense-modality-neutral container space. The causal reflections bring in James J. Gibson’s work on such matters. (shrink)

This paper addresses the problem of sound individuation (SI) and its connection to sound ontology (SO). It is argued that the problems of SI, such as aspatiality, extreme individuation, indexical perplexity and duration puzzles are due to SO’s uncertainties. Besides, I describe the views in SO, including the wave view (WV), the property view (PV), and the event view (EV), as Casey O’Callaghan defends it. According to O’Callaghan, EV offers clear standards to individuate sounds. However, this claim is countered by (...) the consideration that any view could also defend the standards in SO, and thus, EV does not solve any of the problems mentioned above. As a way of showing the difficulties inherited by sound’s inner ontology, the problem of its linguistic representation is also addressed. The problem of SI can be developed within the frame of the philosophy of language and, specifically, regarding the discussion about mass vs count-­sortal terms. Is the term sound a mass or a count­-sortal? It is shown that, for reasons pertaining SO, the decision regarding the case of sound as a mass or count-­sortal term remains open. SI is, thus, covered from the SO to the philosophy of language. (shrink)

I attempt to set the stage for a constructive analysis of the nature and function of tensed belief as a distinct psychological type. After introducing tensed beliefs, I describe the philosophical issues that implicate them, including Prior’s “ thank goodness it’s over ” argument against the B-theory of time. I proceed to flesh out, and then argue against, two traditional treatments of tensed belief from the philosophy of time: the A-theoretic view, which starts from present facts or properties, and Hugh (...) Mellor's B-theoretic reply, which starts from the tenseless properties of tensed belief tokens. The explanatory failure of the former shows that, pace Prior, the existence of tensed attitudes does not favor the A-theory, while the failure of both shows that there are still explanatory gaps that we need to fill. I conclude by offering a working definition of tensed belief and the ideal methodology for filling out these explanatory gaps in future study. (shrink)

This dissertation proposes the central elements of a Social Enactive Theory of Perception. According to SEP, perception consists in sensory-based practices of interaction with objects, events, and states of affairs that are socially constituted. I oppose the representational view that perception is an indirect contact with the world, consists of the passive receiving and processing of sensory input, is in need of constant assessment of accuracy, and is a matter of individuals alone. I share the basic enactivist insight that perception (...) is a type of activity, but I depart from standard enactivism on the grounds of its individualistic bias and its limited conception of activity. Instead of motor actions, I formulate the concept of perceptual practices as the appropriate framework to understand perception. Perception is woven into socially informed, contextual, sensory-based everyday activities, such as food, dance, and dress, and even seemingly independent, basic perceptual activities and concepts are constituted by such practices. Perceptual individual interactions instantiate social perceptual practices but are not just repetitions of a script. We perceive objects in virtue of perspectives or appearances, not in spite of them, and on this basis I offer SEPâs take on experience, properties, and contents. I conceive perceptual experience as finely grained interactions between subjects and objects, both of which are spatially, temporally, and pragmatically situated. Objects and their sensory properties are perceived dynamically and always in multiple appearances. Perceptual content offers a pragmatic specification of the perceptual objects in the specific ways they appear to subjects. For SEP, perception is normatively structured. SEPâs perceptual normativity is not a worry about a supposed constant threat that our perceptions be nonveridical, but about the placement of perceptual things in a system of possibilities and expectations, cast in terms of degrees of fulfillment of expectations and in a horizon of pragmatic significance, both of which are functions of the socially constituted interactions between a perceiver and a rich theory of appearances. (shrink)

I offer a novel defence of radically externalist theories of perception, via a strikingly spare and broadly physicalist metaphysics. The core, motivating claim is what I call a natural view of perception, according to which perception involves direct awareness of our environment, such that the phenomenology of experience consists of the worldly things perceived, as they appear to the perspective of the subject. To underpin this natural view, I propose a simple metaphysical picture of perception, which identifies the perceptual experience (...) with the relation of awareness holding between subject and object, a relation that can be described in familiar physical terms as a causal process involving the thing perceived and the perceiver. Distinctively, the simple metaphysical picture has no place for the notion of ‘experiences’ understood as distinctively ‘mental’ states or events internal or otherwise belonging to the subject. Although there is some limited precedent for the simple metaphysical picture of perception, I offer the first detailed argument for its role in underpinning the natural view. The thesis offers new and detailed arguments to show that the simple metaphysical picture can not only account for normal perceptual experiences, but can also accommodate and explain other forms of sensory experience that have widely been considered to undermine the natural view of perception. These ‘problem’ cases include perceptual illusion, hallucination, and the role of memory and beliefs in influencing how things appear perceptually. In all of these cases, the simple metaphysical picture accounts for the phenomenology of the experience purely in terms of awareness of worldly objects, albeit in some cases objects that are not currently present in the subject’s environment. The simple metaphysical picture thus promises to explain not just perceptual experience but phenomenal consciousness more generally. The natural view is explicitly a commitment of some varieties of naïve realism, but I argue that the two theses come apart. For one thing, the simple metaphysical picture offers a solution to hallucination and other ‘problem’ cases quite different to the solutions offered by naïve realists. However, the most striking and novel claim advanced here is that the natural view can be defended without a commitment to realism. In this regard, I cite evidence for the subject-relativity or experience-dependence of certain perceived qualities, notably colour, and show the simple metaphysical picture allows us to square this with the natural view that colours are ‘out there’ in the environment. I discuss the metaphysical implications of rejecting realism while adhering to the simple metaphysical picture, and outline a radical – and radically simple – metaphysics of the world in general that might preserve the natural view and accommodate the simple metaphysical picture of phenomenal consciousness more generally. This metaphysics takes the form of a process monism in which the governing metaphysical structuring principle is one of top-down determination, such that whole processes determine the nature of their constituent parts. (shrink)

The central undertaking of this project is to initiate a phenomenological theory of musical experience. The core views expressed are that musical rhythm is the most fundamental, and the only essential, component of the musical experience, and that the essence of musical experience lies in attending to rhythm as communicative of a sense of time. In the introduction I set out the general phenomenon of musical understanding and argue for the relevance of phenomenological description of basic musical experience for the (...) theory of musical understanding. I continue this work by considering Jerrold Levinson's concatenationist view, and indicate the need for a more adequate characterization of basic musical experience. I then discuss Roger Scruton's attempt to distinguish musical from nonmusical hearing in terms of metaphorical perception and acousmatic listening and conclude that neither provides an essential characteristic of musical hearing. I present the theory and method of phenomenology and trace out what I take to be phenomenologically adequate theories of sound and auditory experience. The heart of the work explores the notion of musical time along with the nature of the experience of rhythm and meter. The first part of the final chapter contains an historical and critical overview of philosophical accounts of the connection between music and the emotions, and the related issue of whether music possesses any "content" beyond sounds and their melodic, rhythmic, and harmonic organization. The second part considers attempts to pursue a theoretical analogy between music and language. (shrink)