In this paper, I critically assess the enactive account of visual perception recently defended by AlvaNoë (2004). I argueinter aliathat the enactive account falsely identifies an object’s apparent shape with its 2D perspectival shape; that it mistakenly assimilates visual shape perception and volumetric object recognition; and that it seriously misrepresents the constitutive role of bodily action in visual awareness. I argue further that noticing an object’s perspectival shape involves a hybrid experience combining both perceptual and imaginative elements—an act of what (...) I call ‘make‐perceive’. (shrink)

Molyneux’s question famously asks about whether a newly sighted subject might immediately recognize, by sight alone, shapes that were already familiar to her from a tactile point of view. This paper addresses three crucial points concerning this puzzle. First, the presence of two different questions: the classic one concerning visual recognition and another one concerning vision-for-action. Second, the explicit distinction, reported in the literature, between ocular and cortical blindness. Third, the importance of making reference to our best neuroscientific account on (...) vision, ‘the two visual systems model’, in order to better address Molyneux’s problem. Then, by offering a new, deeper analysis of the relation between, and, this paper suggests that the subjects of Molyneux’s two different questions show the same visual impairment as brain-damaged subjects with different lesions of the visual cortex. In particular, the subject of the first question shows the same impairment in visual recognition as a visual agnosic subject, while the subject of the second question shows the same visual impairment in visuomotor processing as an optic ataxic subject. These impairments still hold even if ocular processing is restored. Therefore, I suggest the following. For the first classic question, the required experimental setting cannot be properly reached. By contrast, concerning the second question, based on the interpretation we select, either the answer is negative, or, as with the first question, the experimental setting cannot be properly reached. This proposal constitutes, with the other approaches offered in the literature, a further attempt to tackle the enormous complexity of Molyneux’s puzzle. (shrink)

In 1688 the Irish scientist and politician William Molyneux sent a letter to the philosopher John Locke. In it, he asked him a question: could someone who was born blind, and able to distinguish a globe and a cube by touch, be able to immediately distinguish and name these shapes by sight if given the ability to see? -/- The philosophical puzzle offered in Molyneux’s letter fascinated not only Locke, but major thinkers such as Leibniz, Berkeley, Diderot, Reid, and numerous (...) others including psychologists and cognitive scientists today. Does such a question represent a philosophical puzzle or a problem that can be solved by experimental tests? Can vision be fully restored after blindness? What is the relation between vision and touch? Are the senses linked through learning or bound at birth? -/- Molyneux’s Question and the History of Philosophy is a major collection of essays that explore the long-standing issues Molyneux’s problem presents to philosophy of mind, perception and the senses. In addition, the volume considers the question from an interdisciplinary angle, examines the pre-history of the question, and aspects of it that have been ignored, such as perspectives from religion and disability. -/- As such, Molyneux’s Question and the History of Philosophy presents a set of philosophically rich, empirically informed, and scientifically rigorous original investigations into this famous puzzle. It will be of great interest to students and researchers in philosophy, psychology, and the cognitive sciences including neuroscience, neurobiology and ophthalmology, as well as those studying the mind, perception and the senses. (shrink)

In this paper I claim that perceptual discriminatory skills rely on a suitable type of environment as an enabling condition for their exercise. This is because of the constitutive connection between environment and perceptual discriminatory skills, inasmuch as such connection is construed from an ecological approach. The exercise of a discriminatory skill yields knowledge of affordances of objects, properties, or events in the surrounding environment. This is practical knowledge in the first-person perspective. An organism learns to perceive an object by (...) becoming sensitized to its affordances. I call this position ecological disjunctivism. A corollary of this position is that a case of perception and its corresponding case of hallucination—which is similar to the former only in some respects—are different in nature. I show then how the distinguishability problem is addressed by ecological disjunctivism. (shrink)

It is hoped that modern sensory substitution and augmentation devices will be able to replace or expand our senses. But to what extent has this been achieved to date? To what extent are the experiences created by sensory substitution devices like the sensory experiences that we are trying to replace? To what extent can we augment people’s senses providing them with new information and new experiences? The first aim of this introduction is to delve deeply into this question to discover (...) the usefulness of these devices, to outline the different sorts of experience that might be created, and what the evidence tells us about these experiences. While there are some reasons to be hopeful about the powers of sensory substitution devices, there are also reasons to wonder whether they will ever really have the practical applications that we hope they might have. The second aim is to look to see whether the study of modern sensory substitution and augmentation devices can shed light on the nature of our senses and perception in general. Much of the philosophical, psychological, and neuroscientific work that takes place concerning sensory substitution and augmentation is keenly aware of the possibility that it might help our understanding and it seeks to comprehend many different aspects of perception. (shrink)

Michael Jacovides For Locke, the first step in inquiring into perception should be reflection: “What Perception is, every one will know better by reflecting on what he does himself, when he sees, hears, feels, etc. or thinks, than by any discourse of mine” (2.9.2). As a second step, I say, we may learn from reading him. Locke’s use of the term ‘perception’ is somewhat broad. At one point, he tells us that “having Ideas and Perception” are “the same thing” (2.1.9). (...) Elsewhere, he includes the perceiving the agreement of ideas and perceiving the meaning of signs among the varieties of perception (2.21.5). What I have to say will be about perception as psychologists classify it nowadays. I will first discuss sensation in general and then elucidate some of the subtleties of Locke’s account of the visual perception of shape. I’ll close with some remarks on Locke account of time perception. (shrink)

Brain-centered theories of consciousness seem to face insuperable difficulties. While some philosophers now doubt that the hard problem of consciousness will ever be solved, others call for radically new approaches to conscious experience. In this article I resurrect a largely forgotten approach to consciousness known as neorealism. According to neorealism, consciousness is merely a part, or cross-section, of the environment. Neorealism implies that all conscious experiences, veridical or otherwise, exist outside of the brain and are wholly independent of being perceived (...) or not; nonveridical perceptions of the environment over an arbitrarily short period of time are supposed to be objective constituents of the environment over a more extended time scale. I argue here that neorealism fares at least as well as brain-centered theories of consciousness on a number of fundamental issues. On one fundamental issue—the nature of the relation between veridical and nonveridical perceptions—neorealism outperforms its competitors. (shrink)

This paper is a defense of an internalist view of the perception of shapes. A basic assumption of the paper is that perceptual experiences have certain parts which account both for the phenomenal character associated with perceiving shapes—phenomenal shapes—and for the intentional content presenting shapes—intentional shapes. Internalism about perceptions of shapes is defined as the claim that phenomenal shapes determine the intentional shapes. Externalism is defined as the claim that perceptual experiences represent whatever shape the phenomenal shape reliably tracks. The (...) argument against externalism proceeds in three steps. First, it is argued that phenomenal shapes are modality specific, such that a phenomenal shape that features in a visual perceptual experience cannot feature in a haptic perceptual experience, and vice versa. Second, it is argued that intentional shapes are amodal. Third, it is argued that externalism is incompatible with the fact that phenomenal shapes are modality specific and intentional shapes amodal. (shrink)

Abstract: In this paper I consider recent attempts to establish that the geometry of visual experience is a spherical geometry. These attempts, offered by Gideon Yaffe, James van Cleve and Gordon Belot, follow Thomas Reid in arguing for an equivalency of a geometry of ‘visibles’ and spherical geometry. I argue that although the proposed equivalency is successfully established by the strongest form of the argument, this does not warrant any conclusion about the geometry of visual experience. I argue, firstly, that (...) the resistance of this contemporary argument to empirical considerations counts against its plausibility. Moreover, I argue that the contemporary approach provides no compelling reason for supposing that the geometry offered as the geometry of ‘visibles’ is the correct geometrical description of visual experience. (shrink)

A.D. Smith opens his excellent paper, “Space and Sight,” by remarking, One of the most notable features of both philosophy and psychology throughout the eighteenth and nineteenth centuries is the almost universal denial that we are immediately aware through sight of objects arrayed in three-dimensional space. This was not merely a denial of Direct Realism, but a denial that truly visual objects are even phenomenally presented in depth (481). Times have changed. As Smith writes, “It is hard to think of (...) a more radical reversal in thinking than the one that separates such an outlook from that which prevails today; for this erstwhile orthodoxy is hardly given even serious consideration in our own times, at least among philosophers” (482). Even so, how could this doctrine come and go? How can there be fashion in phenomenology?1 Let me answer the question indirectly, by considering Locke’s reasons for advancing the doctrine. He writes, “When we set before our Eyes a round Globe, of any uniform colour, v.g. Gold, Alabaster, or Jet, ‘tis certain, that the Idea thereby imprinted in our Mind, is of a flat Circle variously shadow’d, with several degrees of Light and Brightness coming to our Eyes” (2.9.8).2 Adults have acquired ideas of three-dimensional objects (presumably by.. (shrink)

Thomas Reid's Geometry of Visibles, according to which the geometrical properties of an object's perspectival appearance equal the geometrical properties of its projection on the inside of a sphere with the eye in its centre allows for two different interpretations. It may (1) be understood as a theory about phenomenal visual space – i.e. an account of how things appear to human observers from a certain point of view – or it may (2) be seen as a mathematical model of (...) viewpoint-relative but mind-independent relational properties of objects. This paper makes a systematic and a historical claim. I shall argue, first, that given certain features of the human visual system phenomenal visual space differs in several aspects from Reidean visual space. Secondly, I suggest that, since Reid was aware of some of these empirical facts, we should interpret Reid as endorsing the second interpretation of the Geometry of Visibles. (shrink)

From the outside, our senses are spatially integrated in our body in manifestly different ways. This paper starts from the suggestion that the philosophical formulation of the problem of spatial perception, as it flows from the modern opposition of mind and world, is partly responsible for the fact that philosophers have often explicitly disregarded the spatial nature of the senses themselves. An indirect consequence is that much philosophical work focuses on how the senses can – or cannot – perceive the (...) same spatial features of objects in the same way, while disregarding the massive differences in performance among the senses. This paper explores the ways in which the spatial integration of our senses determines what each of our senses excels in, and hence what they contribute to our spatial relation to a physical environment. By juxtaposing descriptive analyses of a variety of selected cases, the paper gives priority to how various aspects of the world appear to us in order to obtain insight into the meaning of spatiality for different senses. (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)

This paper presents an argument against A D Smith’s Direct Realist theory of perception, which attempts to defend Direct Realism against the argument from illusion by appealing to conscious perceptual states that are structured by the perceptual constancies. Smith’s contention is that the immediate objects of perceptual awareness are characterised by these constancies, which removes any difficulty there may be in identifying them with the external, or normal, objects of awareness. It is here argued that Smith’s theory does not provide (...) an adequate defence of Direct Realism because it does not adequately deal with the difficulties posed by the possibility of perceptual illusion. It is argued that there remain possible illusory experiences where the immediate objects of awareness, which in Smith’s account are those characterised by perceptual constancies, cannot be identified with the external objects of awareness, contrary to Direct Realism. A further argument is offered to extend this conclusion to all non-illusory cases, by adapting an argument of Smith’s own for the generalising step of the Argument from Illusion. The result is that Smith’s theory does not provide an adequate Direct Realist account of the possibility of perceptual illusion. (shrink)

William Molyneux raised the following question: if a congenital blind person is made to see, and is visually presented with a cube and a globe, would he be able to call the shapes before him a cube and a globe before touching them? Locke, Berkeley, Leibniz, and Reid presented their phenomenological view of shape perception, i.e. their view as to what it is like to perceive shape by sight and touch, in responding to Molyneux’s Question. The four philosophers shared the (...) view that visual perception delivers no solid shape. This view would provide a premise for an argument for immaterial objects. The purpose of my thesis is to reject that argument. Kant’s view and John Campbell’s externalist account offer a way to reject the premise of the argument in question. However, my strategy is not to adopt their view. I pursue Reichenbach’s view that the there is no congruence or incongruence involved in the visual phenomenology. I develop his view, and propose the view that visual perception delivers no flat or solid shape. Although my view endorses the premise in question, I can offer a way to reject the argument. This is because my view is compatible with a form of externalism about perception (which differs from Campbell’s). My view can also do full justice to the phenomenological views presented by the four philosophers. (shrink)

In this unique study, Michael Y. Bennett re-reads four influential modern plays alongside their contemporary debates between rationalism and empiricism to show how these monumental achievements were thoroughly a product of their time, but also universal in their epistemological quest to understand the world through a rational and/or empirical model. Bennett contends that these plays directly engage in their contemporary epistemological debates rather than through the lens of a specific philosophy. Besides producing new, insightful readings of heavily-studied plays, the interdisciplinary (...) (historical, philosophical, dramatic, theatrical, and literary) frame Bennett constructs allows him to investigate one of the most fundamental questions of the theatre - how does meaning get made? Bennett suggests that the key to unlocking theatrical meaning is exploring the tension between empirical and rational modes of understanding. The book concludes with an interview with performance artist Coco Fusco. (shrink)