Our memories elicit, in us, both beliefs about what the external world was like in the past, and beliefs about what our own past experience of it was like in the past. What explains the power of memories to do that? I tackle this question by offering an account of the content of our memories. According to this account, our memories are ‘token-reflexives’, in that they represent their own causal origin. My main contention will be that our memories are able (...) to provide us with evidence for the two types of beliefs due to the self-referential nature of their content. First, I will put forward a series of thought-experiments intended to raise several intuitions about the veridicality of memories. Next, I will introduce the view that memories are token-reflexives, and I will motivate it by pointing out that the view accommodates the relevant intuitions. And, then, I will return to the two types of beliefs prompted by our memories, and argue that conceiving memories as token-reflexives allows us to explain why memory has the power to elicit the two types of beliefs in us. (shrink)

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 (...) to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Perceptual experience usually comes with “phenomenal force”, a strong sense that it reflects reality as it is. Some philosophers have argued that it is in virtue of possessing phenomenal force that perceptual experiences are able to non‐inferentially justify beliefs. In this article, I introduce an alternative, inferentialist take on the epistemic role of phenomenal force. Drawing on Bayesian modeling in cognitive science, I argue that the sense of reality that accompanies conscious vision can be viewed as epistemically appraisable in light (...) of its rational etiology. (shrink)

Philosophers of perception often claim that usual perceptual experiences not only present particulars but also phenomenally present them as particulars. Nevertheless, despite the initial plausibility of this thesis, it is not clear what exactly it means to say that particularity is phenomenally presented. The paper aims to provide a deeper analysis of the claim that perceptual experiences phenomenally present objects as particulars. In doing so, I distinguish two theses regarding phenomenally presented particularity: Generic Particularity and Specific Particularity. According to the (...) first thesis, vision phenomenally presents particularity of objects, understood as a general characteristic that may be shared by many entities. The second thesis states that vision phenomenally presents particularity of objects, understood as an individual characteristic unique to each particular. I argue that, relying on knowledge concerning the functioning of perceptual mechanisms, vision does not phenomenally present generic particularity but it has certain abilities for presenting specific particularity. (shrink)

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 to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)