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The Visual Experience of Causation

In Fiona Macpherson (ed.), The Admissible Contents of Experience. Malden, MA: Wiley-Blackwell. pp. 150–171 (2011)

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  1. Does Perception Track Deific properties: A Case for Deific Perception.Hamid Nourbakhshi - manuscript
    This paper argues for deific perception, the idea that some perceptual experiences represent deific properties, as an explanation for a certain type of religious experience. Using Siegel's method of phenomenal contrast, a pair of experiences are compared: an ordinary perception of a black rose, and one where the rose seems imbued with religious significance. Intuitively, these have different phenomenologies. Deific perception posits that in the religiously-significant experience, a deific property like "being a creature of God" partly constitutes the visual phenomenology. (...)
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  • (1 other version)Representing Tropes A New Defense of Trope Content View of Experience.de Sá Pereira Roberto Horácio - 2018 - Philosophical Studies 176 (7):1757-1768.
    The idea that what we perceive are tropes (abstract particulars) is anything but new. In fact, it was one of the reasons why the ontology of tropes was postulated in the first place. Still, the claim that we perceive tropes is invariably and purely based on pre-philosophical intuitions or, indirectly, as a supporting argument for the advantages of the content view when compared to the relational view of experience. In this paper, I take the content view for granted and argue (...)
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  • The role of imagination and recollection in the method of phenomenal contrast.Hamid Nourbakhshi - 2023 - Theoria 89 (5):710-733.
    The method of phenomenal contrast (in perception) invokes the phenomenal character of perceptual experience as a means to discover its contents. The method implicitly takes for granted that ‘what it is like’ to have a perceptual experience e is the same as ‘what it is like’ to imagine or recall it; accordingly, in its various proposed implementations, the method treats imaginations and/or recollections as interchangeable with real experiences. The method thus always contrasts a pair of experiences, at least one of (...)
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  • Hearing chimeras.Elvira Di Bona - 2022 - Synthese 200 (3):1-20.
    I argue that chimericity is a property that we typically experience when listening to multi-instrumental music. It is the property of hearing as a unified whole a melody or a harmony that does not belong to any single sound source but instead consists of the assembling of melodic or harmonic fragments coming from different sources. Chimericity is not reducible to the low-level audible properties of pitch and loudness; it is cognized at the perceptual level thanks to the auditory mechanism of (...)
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  • Cause, "Cause", and Norm.John Schwenkler & Eric Sievers - 2022 - In Pascale Willemsen & Alex Wiegmann (eds.), Advances in Experimental Philosophy of Causation. Bloomsbury Publishing. pp. 123-144.
    This chapter presents a series of experiments that elicit causal judgments using statements that do not include the verb "to cause". In particular, our interest is in exploring the extent to which previously observed effects of normative considerations on agreement with what we call "cause"-statements, i.e. those of the form "X caused ..." extend as well to those of the form "X V-ed Y", where V is a lexical causative. Our principal finding is that in many cases the effects do (...)
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  • Philosophy of perception in the psychologist's laboratory.Morales Jorge & Firestone Chaz - 2023 - Current Directions in Psychological Science 32 (4):307-317.
    Perception is our primary means of accessing the external world. What is the nature of this core mental process? Although this question is at the center of scientific research on perception, it has also long been explored by philosophers, who ask fundamental questions about our capacity to perceive: Do our different senses represent the world in commensurable ways? How much of our environment can we be aware of at one time? Which aspects of perception are ‘objective’, and which ‘subjective’? What (...)
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