This thesis develops a novel framework for explaining delusions. In Chapter 1, I introduce the two fundamental challenges posed by delusions: the evidence challenge lies in explaining the flagrant ways delusions flout evidence; and the specificity challenge lies in explaining the fact that patients’ delusions are often about a few specific themes, and patients rarely have a wide range of delusional or odd beliefs. In Chapter 2, I discuss the strengths and weaknesses of current theories of delusions, which typically appeal (...) to one or both of two factors: anomalous experience and reasoning abnormality. I argue that anomalous experience can help explain the specificity of delusions, but has difficulties in addressing the evidence challenge; reasoning abnormality can help address the evidence challenge, but has difficulties in explaining the specificity of delusions. This suggests that there may be an important factor that has not been captured by current theories of delusions. To search for this missing factor, in Chapter 3, I turn to normal believing. Inspired by the literature on Cartesian clarity and phenomenal dogmatism, I develop a dual-force framework of believing, according to which beliefs can be understood as the results of the interaction between the justificatory force and causal force of evidence and the justificatory force and causal force of clear experience, in which something clearly seems to be so to the subject. This framework suggests that the missing factor may be the clear experience with its distinctive phenomenal clarity that compels assent. In Chapter 4, I return to delusions, and argue that the dualforce framework can help us to get a better grip on some personal descriptions of delusions; make progress in addressing the evidence and specificity challenges of delusions; and shed new light on the underpinnings of delusions. In the end, I conclude with some remaining questions for future study. (shrink)

It is not uncommon to think that having a desire involves taking its object to be good in some sense. This idea has been developed in two directions: either toward a view that understands the positive evaluation in terms of a judgment or belief or a view according to which the relevant evaluation is perception-like. In this article, I defend a novel proposal that takes the positive evaluation of the object of desire to be a kind of imagining.

The notion of subjective vividness plays a fundamental role in comparing different conscious experiences, yet it is poorly understood and lacks proper definition. Philosophical reflection on this topic is especially scarce. This article proposes a novel account of vividness arguing that its standard operationalisation in psychology conflates two major modality‐general dimensions along which experiences vary—subjective intensity and subjective specificity—which themselves are determined by further modality‐specific factors. The article identifies the neural underpinnings of these factors in the visual domain, demonstrates the (...) unificatory power of the account, and argues that vividness is part of the content of perception. (shrink)

This paper examines the problem of how we distinguish, phenomenologically, sensory imagination from perception. I suggest that philosophical discussions of this issue have been hampered by a surprising failure to carefully distinguish what is involved in our awareness of being in a state of imagining, from our awareness of the imagistic content. Rectifying this allows us, first, to gain a clearer insight into the problem at issue, and it also allows for a new interpretation of the so-called ‘Perky effect’, whereby (...) subjects supposedly confuse imagining for perceiving. Second, it allows us to give a more nuanced account of reality monitoring and of the metacognitive mechanisms underpinning the phenomenal features we rely upon to distinguish state from content. (shrink)

We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of mushin and riken no ken. Mushin is an empty state of mind devoid of mental contents. Riken no ken is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of riken no ken present it as a form (...) of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that riken no ken co-exists with mushin. We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes riken no ken as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community. (shrink)