One often hears it said that our visual-perceptual contact with the world is “perspectival.” But this can mean quite different things. Three different senses in which our visual contact with the world is “perspectival” are distinguished. The first involves the detection or representation of behaviorally important relations, holding between a perceiving subject and the world. These include time to contact, body-scaled size, egocentric position, and direction of heading. The second perspective becomes at least explicitly manifest in taking up the “proximal (...) mode” and involves the representation of relational “appearance properties,” such as, perhaps , angular size and angular/projective shape at or from a viewpoint. The third perspective is associated with the pencil of rays structured by the position and geometry of the eyes. The relationships between these three perspectives are charted, and their connection with conscious experiential awareness discussed. So, e.g., there is no simple or direct route from the detection of the relations constitutive of perspective2 to detection of the relations constitutive of perspective1. The relations definitive of perspective3 are probably not themselves detected or represented by the visual system, but define the informational arena within which detection of the relations definitive of perspective1 and perspective2 takes place. (shrink)

The 'content view', in slogan form, is 'Perceptual experiences have representational content'. I explain why the content view should be reformulated to remove any reference to 'experiences'. I then argue, against Bill Brewer, Charles Travis and others, that the content view is true. One corollary of the discussion is that the content of perception is relatively thin (confined, in the visual case, to roughly the output of 'mid-level' vision). Finally, I argue (briefly) that the opponents of the content view are (...) partially vindicated, because perceptual error is due to false belief. (shrink)

The target article is an attempt to make some progress on the problem of color realism. Are objects colored? And what is the nature of the color properties? We defend the view that physical objects (for instance, tomatoes, radishes, and rubies) are colored, and that colors are physical properties, specifically types of reflectance. This is probably a minority opinion, at least among color scientists. Textbooks frequently claim that physical objects are not colored, and that the colors are "subjective" or "in (...) the mind." The article has two other purposes: first, to introduce an interdisciplinary audience to some distinctively philosophical tools that are useful in tackling the problem of color realism and, second, to clarify the various positions and central arguments in the debate. (shrink)

Tyler Burge presents an original study of the most primitive ways in which individuals represent the physical world. By reflecting on the science of perception and related psychological and biological sciences, he gives an account of constitutive conditions for perceiving the physical world, and thus aims to locate origins of representational mind.

This chapter discusses color blindness and how it can be considered a guide and test for theories of normal vision. There are a multitude of stories to be told about the physiology of the receptor pigments of the eye and the genes that code for them, about the various kinds of cells in the retina and elsewhere in the visual system, and about color processing in the brain. It is a topic on which psychologists, physicists, biologists, and neurophysiologists have reason (...) to be proud and glad of the convergence of interests and views. Color blindness might, at first, seem just a peripheral abnormality, but it has often been both a guide to the nature of normal color vision and a test application for theories of it. It has the potential to provide cases where the various components of a complex process that are either hard or impossible to separate artificially are found already separated in nature. (shrink)

In this paper, I critically assess the enactive account of visual perception recently defended by Alva Noë (2004). I argue inter alia that 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)

I develop a Russellian representationalist account of size experience that draws importantly from contemporary vision science research on size perception. The core view is that size is experienced in ‘body-scaled’ units. So, an object might, say, be experienced as two eye-level units high. The view is sharpened in response to Thompson’s (forthcoming) Doubled Earth example. This example is presented by Thompson as part of an argument for a Fregean view of size experience. But I argue that the Russellian view I (...) develop handles the Doubled Earth example in a natural and illuminating way, thereby avoiding the need to posit irreducible experiential ‘modes of presentation’. I also address a kind of neo-Fregean ‘reference-fixing’ view of size experience, that shares features with the Russellian view developed. I give reasons for favoring the latter. Finally, I argue that Peacocke’s claim that spatial experience is ‘unit free’ is not persuasive. (shrink)

The Problem of Perception offers two arguments against direct realism--one concerning illusion, and one concerning hallucination--that no current theory of ...

The tradition descending from Frege and Russell has typically treated theories of meaning either as theories of meanings, or as theories of truth conditions. However, propositions of the classical sort don't exist, and truth conditions can't provide all the information required by a theory of meaning. In this book, one of the world's leading philosophers of language offers a way out of this dilemma. Traditionally conceived, propositions are denizens of a "third realm" beyond mind and matter, "grasped" by mysterious Platonic (...) intuition. As conceived here, they are cognitive-event types in which agents predicate properties and relations of things--in using language, in perception, and in nonlinguistic thought. Because of this, one's acquaintance with, and knowledge of, propositions is acquaintance with, and knowledge of, events of one's cognitive life. This view also solves the problem of "the unity of the proposition" by explaining how propositions can be genuinely representational, and therefore bearers of truth. The problem, in the traditional conception, is that sentences, utterances, and mental states are representational because of the relations they bear to inherently representational Platonic complexes of universals and particulars. Since we have no way of understanding how such structures can be representational, independent of interpretations placed on them by agents, the problem is unsolvable when so conceived. However, when propositions are taken to be cognitive-event types, the order of explanation is reversed and a natural solution emerges. Propositions are representational because they are constitutively related to inherently representational cognitive acts. Strikingly original, What Is Meaning? is a major advance. (shrink)

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She then introduces a (...) method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

In a brief but remarkable section of the Inquiry into the Human Mind, Thomas Reid argued that the visual field is governed by principles other than the familiar theorems of Euclid—theorems we would nowadays classify as Riemannian. On the strength of this section, he has been credited by Norman Daniels, R. B. Angell, and others with discovering non-Euclidean geometry over half a century before the mathematicians—sixty years before Lobachevsky and ninety years before Riemann. I believe that Reid does indeed have (...) a fair claim to have discovered a non-Euclidean geometry. However, the real basis of Reid’s geometry of visibles is subtle and easy to misidentify. My main aim in what follows is to make clear what the real basis is, separating it from several fallacious or irrelevant considerations on which Reid may seem to be relying. A secondary aim is to air the worry that Reid’s case for his geometry can succeed only at the cost of compromising the achievement for which Reid is best known—his direct realist theory of perception. (shrink)

To what extent is the external world the way that it appears to us in perceptual experience? This perennial question in philosophy is no doubt ambiguous in many ways. For example, it might be taken as equivalent to the question of whether or not the external world is the way that it appears to be? This is a question about the epistemology of perception: Are our perceptual experiences by and large veridical representations of the external world? Alternatively, the question might (...) be taken as asking whether or not the external world is like its ways of appearing to us, where the expression “ways of appearing” is intended to pick out aspects of our perceptual experiences themselves. This is a metaphysical version of the question of the relationship between appearance and reality: What is the relationship between the phenomenal features that characterize perceptual experience, on the one hand, and the mind-independent features of the external objects of perception, on the other? There are some philosophers who might resist distinguishing between these two questions. For them, “ways of appearing” in the phenomenal sense just are the ways that things appear to be (let’s call the latter the “intentional sense” of “ways of appearing”).1 That is, the phenomenal character of an experience is nothing over and above its representational content. Phenomenal properties are represented properties—the properties that an experience attributes to the external objects of perception. The question of whether or not phenomenal properties can be identified with the represented properties of an experience mirrors traditional questions in the philosophy of perception. If they can be identified with each other, then in veridical perception we might be said to “directly grasp” features of the external world through perception. The properties that are present to the mind are the very same properties that belong to the external objects of perception. Such a view affords.... (shrink)

Aware that the representational thesis is more plausible for the attitudinal than for the phenomenal, Dretske courageously focuses on sensory experience, where progress in our philosophical understanding of the mental has lagged. His view, essentially, is that what makes any mental state what it is is not so much what it's like as what it's about.

In this book one of the world's foremost philosophers of language presents his unifying vision of the field--its principal achievements, its most pressing current questions, and its most promising future directions. In addition to explaining the progress philosophers have made toward creating a theoretical framework for the study of language, Scott Soames investigates foundational concepts--such as truth, reference, and meaning--that are central to the philosophy of language and important to philosophy as a whole. The first part of the book describes (...) how philosophers from Frege, Russell, Tarski, and Carnap to Kripke, Kaplan, and Montague developed precise techniques for understanding the languages of logic and mathematics, and how these techniques have been refined and extended to the study of natural human languages. The book then builds on this account, exploring new thinking about propositions, possibility, and the relationship between meaning, assertion, and other aspects of language use. An invaluable overview of the philosophy of language by one of its most important practitioners, this book will be essential reading for all serious students of philosophy. (shrink)

In this paper, I argue that certain perceptual relations are represented in visual experience.

In this paper I discuss several proposals for how to find out which contents visual experiences have, and I defend the method I.

How can we discover the contents of experience? I argue that neither introspection alone nor naturalistic theories of experience content are sufficient to discover these contents. I propose another method of discovery: the method of phenomenal contrast. I defend the method against skeptics who doubt that the contents of experience can be discovered, and I explain how the method may be employed even if one denies that experiences have contents.

We are prone to gross error, even in favorable circumstances of extended reflection, about our own ongoing conscious experience, our current phenomenology. Even in this apparently privileged domain, our self-knowledge is faulty and untrustworthy. We are not simply fallible at the margins but broadly inept. Examples highlighted in this essay include: emotional experience (for example, is it entirely bodily; does joy have a common, distinctive phenomenological core?), peripheral vision (how broad and stable is the region of visual clarity?), and the (...) phenomenology of thought (does it have a distinctive phenomenology, beyond just imagery and feelings?). Cartesian skeptical scenarios undermine knowledge of ongoing conscious experience as well as knowledge of the outside world. Infallible judgments about ongoing mental states are simply banal cases of self-fulfillment. Philosophical foundationalism supposing that we infer an external world from secure knowledge of our own consciousness is almost exactly backward. (shrink)

I defend a view of the structure of visual property-awareness by considering the phenomenon of perceptual constancy. I argue that visual property-awareness is a three-place relation between a subject, a property, and a manner of presentation. Manners of presentation mediate our visual awareness of properties without being objects of visual awareness themselves. I provide criteria of identity for manners ofpresentation, and I argue that our ignorance of their intrinsic nature does not compromise the viability of a theory that employs them. (...) In closing, I argue that the proposed manners of presentation are consistent with key direct-realist claims about the structure of visual awareness. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

This book develops and defends a version of direct realism: the thesis that perception gives us direct awareness, and non-inferential knowledge, of the external..

We can start with a definition. “[C]olour constancy is the constancy of the perceived colours of surfaces under changes in the intensity and spectral composition of the illumination.” (Foster et al. 1997) Given the definition we can now ask a question: Does human color vision exhibit color constancy?1 The answer to the question depends in part on how we interpret it. If the question is understood as asking whether human color vision displays constancy for every possible scene across every possible (...) illumination then the answer is no.2 If the question is understood as asking whether human color vision displays some degree of constancy for some scenes across some range of illuminants then the answer is yes. The more interesting questions involve characterizing the degree of constancy human vision displays, the types of scenes and ranges of illuminants for which approximate constancy can be achieved and the.. (shrink)

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

''The authors' style is clear, making the book accessible to newcomers, and the illustrations are excellent. There can be no doubt that this book will remain the standard work in the subject, and it will appeal to readers of all types.'' -Sir Patrick Moore in the Times Higher Education Supplement ''It will surely be the standard work on the subject for many years to come and we await with interest the outcome of further research into this fascinating subject.'' -Society for (...) the History of AstronomyFor thousands of years, one scientific puzzle has fascinated and perplexed the greatest philosophers, mathematicians, physicists, and psychologists - why do the moon and sun appear so much larger on the horizon than when high up in the sky? Now, two leading psychologists have provided a compelling account of this fascinating illusion. Taking us through the history, the characters involved, the attempts made to explain the illusion, through to modern day studies of visual perception, the book is the most comprehensive account of this puzzle so far. This is a work which will remain, for some time to come, the definitive book on a mystery that has fascinated and tested the greatest minds throughout the ages. Accessibly written, it will appeal to readers of popular science, along with those within the disciplines of psychology, mathematics, astronomy, and philosophy, from undergraduate upwards. (shrink)

In "Things and Places," Zenon Pylyshyn argues that the process of incrementally constructing perceptual representations, solving the binding problem (determining which properties go together), and, more generally, grounding perceptual ...

Representation and content in some (actual) theories of perception -- Representation in perception and cognition : task analysis, psychological functions, and rule instantiation -- Perception as unconscious inference -- Representation and constraints : the inverse problem and the structure of visual space -- On perceptual constancy -- Getting objects for free (or not) : the philosophy and psychology of object perception -- Color perception and neural encoding : does metameric matching entail a loss of information? -- Objectivity and subjectivity revisited (...) : color as a psychobiological property -- Sense data and the mind body problem -- The reality of qualia -- The sensory core and the medieval foundations of early modern perceptual theory -- Postscript (2008) on Ibn al-Haytham's (Alhacen's) theory of vision -- Attention in early scientific psychology -- Psychology, philosophy, and cognitive science : reflections on the history and philosophy of experimental psychology -- What can the mind tell us about the brain? : psychology, neurophysiology, and constraint -- Introspective evidence in psychology. (shrink)

The theory of visual perception that Irvin Rock develops and supports in this book with numerous original experiments, views perception as the outcome of a process of unconscious inference, problem solving, and the building of structural descriptions of the external world.

Examining one of the fundamental issues in cognitive psychology: How does our conscious experience come to be the way it is?

In the Garden of Eden, we had unmediated contact with the world. We were directly acquainted with objects in the world and with their properties. Objects were simply presented to us without causal mediation, and properties were revealed to us in their true intrinsic glory.