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Rich perceptual content and aesthetic properties

In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford University Press (2018)

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  1. How Artworks Modify our Perception of the World.Alfredo Vernazzani - 2021 - Phenomenology and the Cognitive Sciences 22 (2):1-22.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...)
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  • How artworks modify our perception of the world.Alfredo Vernazzani - 2023 - Phenomenology and the Cognitive Sciences 22 (2):417-438.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention (...)
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  • Face perception and mind misreading.Joulia Smortchkova - 2022 - Topoi 41 (4):685-694.
    What is the role of face perception in mindreading? I explore this question by focusing on our quick impressions of others when we look at their faces. Drawing on a contrast between quick impressions of emotional expressions and quick impressions of character traits, I suggest that face perception can be a double-edged sword for mindreading: in some cases, it can correctly track some aspects of the mental life of others, while in other cases it can give rise to visual illusions (...)
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  • In Defence of the Acquaintance Principle in Aesthetics.Andrea Sauchelli - forthcoming - Episteme:1-19.
    Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...)
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  • Aesthetic Realism and Manifest Properties.Andrea Sauchelli - 2022 - Journal of Aesthetics and Art Criticism 80 (2):201-213.
    This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.
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  • Aesthetic perception and the puzzle of training.Madeleine Ransom - 2022 - Synthese 200 (2):1-25.
    While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...)
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  • Shared Musical Experiences.Brandon Polite - 2019 - British Journal of Aesthetics 59 (4):429-447.
    In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...)
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  • Inference as Consciousness of Necessity.Eric Marcus - 2020 - Analytic Philosophy 61 (4):304-322.
    Consider the following three claims. (i) There are no truths of the form ‘p and ~p’. (ii) No one holds a belief of the form ‘p and ~p’. (iii) No one holds any pairs of beliefs of the form {p, ~p}. Irad Kimhi has recently argued, in effect, that each of these claims holds and holds with metaphysical necessity. Furthermore, he maintains that they are ultimately not distinct claims at all, but the same claim formulated in different ways. I find (...)
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  • Do gestalt effects show that we perceive high-level aesthetic properties?Raamy Majeed - 2018 - Analysis 78 (3):440-450.
    Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, which (...)
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  • Specialized Visual Experiences.Casey Landers - 2021 - Philosophical Quarterly 71 (1):74-98.
    Through extensive training, experts acquire specialized knowledge and abilities. In this paper, I argue that experts also acquire specialized visual experiences. Specifically, I articulate and defend the account that experts enjoy visual experiences that represent gestalt properties through perceptual learning. I survey an array of empirical studies on face perception and perceptual expertise that support this account. I also look at studies on perceptual adaptation that some might argue present a problem for my account. I show how the data are (...)
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  • Aesthetic knowledge.Keren Gorodeisky & Eric Marcus - 2022 - Philosophical Studies 179 (8):2507-2535.
    What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...)
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  • Fifty Shades of Affective Colouring of Perception.Frederique de Vignemont - 2023 - Australasian Journal of Philosophy 101 (1):1-15.
    Recent evidence in cognitive neuroscience indicates that the visual system is influenced by the outcome of an early appraisal mechanism that automatically evaluates what is seen as being harmful or beneficial for the organism. This indicates that there could be valence in perception. But what could it mean for one to see something positively or negatively? Although most theories of emotions accept that valence involves being related to values, the nature of this relation remains highly debated. Some explain valence in (...)
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  • Controlling (Mental) Images and the Aesthetic Perception of Racialized Bodies.Adriana Clavel-Vázquez - 2023 - Ergo: An Open Access Journal of Philosophy 10.
    Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia Al-Saji, Mariana (...)
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  • Untying the knot: imagination, perception and their neural substrates.Dan Cavedon-Taylor - 2021 - Synthese 199 (3-4):7203-7230.
    How tight is the conceptual connection between imagination and perception? A number of philosophers, from the early moderns to present-day predictive processing theorists, tie the knot as tightly as they can, claiming that states of the imagination, i.e. mental imagery, are a proper subset of perceptual experience. This paper labels such a view ‘perceptualism’ about the imagination and supplies new arguments against it. The arguments are based on high-level perceptual content and, distinctly, cognitive penetration. The paper also defuses a recent, (...)
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  • Human Perception and The Artificial Gaze.Emanuele Arielli & Lev Manovich - forthcoming - In Artificial Aesthetics.
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  • A Disjunctive Account of Desire.Kael McCormack - 2022 - Dissertation, University of New South Wales
    This thesis motivates a novel account of desire as the best explanation of an intuitive datum. The intuitive datum is that often when an agent desires P she will immediately, outright know that she has a reason to bring P about. Existing explanations of the intuitive datum cannot simultaneously satisfy two desiderata. We want to explain how desires enable outright knowledge of reasons and also explain the fallibility of desires. Existing views satisfy the first desideratum at the expense of the (...)
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  • Either/Or: Subjectivity, Objectivity and Value.Katalin Balog - 2020 - In John Schwenkler & Enoch Lambert (eds.), Becoming Someone New: Essays on Transformative Experience, Choice, and Change. Oxford, UK: Oxford University Press.
    My concern in this paper is the role of subjectivity in the pursuit of the good. I propose that subjective thought as well as a subjective mental process underappreciated in philosophical psychology – contemplation – are instrumental for discovering and apprehending a whole range of value. In fact, I will argue that our primary contact with these values is through experience and that they could not be properly understood in any other way. This means that subjectivity is central to our (...)
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