What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

"This is an important new Cummins work.

This paper contrasts three different schemes of reference relevant to understanding systems of perceptual representation: a location-based system dubbed "feature-placing", a system of "visual indices" referring to things called "proto-objects", and the full sortal-based individuation allowed by a natural language. The first three sections summarize some of the key arguments (in Clark, 2000) to the effect that the early, parallel, and pre-attentive registration of sensory features itself constitutes a simple system of nonconceptual mental representation. In particular, feature integration--perceiving something as (...) being both F and G, where F and G are sensible properties registered in distinct parallel streams--requires a referential apparatus. Section V. reviews some grounds for thinking that at these earliest levels this apparatus is location-based: that it has a direct and nonconceptual means of picking out places. Feature-placing is contrasted with a somewhat more sophisticated system that can identify and track four or five "perceptual objects" or "proto-objects", independently of their location, for as long as they remain perceptible. Such a system is found in Zenon Pylyshyn's fascinating work on "visual indices", in Dana Ballard's notion of deictic codes, and in Kahneman, Treisman, and Wolfe's accounts of systems of evanescent representations they call "object files". Perceptual representation is a layered affair, and I argue that it probably includes both feature-placing and proto-objects. Finally, both nonconceptual systems are contrasted with the full-blooded individuation allowed in a natural language. (shrink)

Drawing on the findings of neuroscience, this text proposes and defends the hypothesis that the various modalities of sensation share a generic form that the author, Austen Clark, calls feature-placing.

John Campbell investigates how consciousness of the world explains our ability to think about the world; how our ability to think about objects we can see depends on our capacity for conscious visual attention to those things. He illuminates classical problems about thought, reference, and experience by looking at the underlying psychological mechanisms on which conscious attention depends.

Traditionally, perceptual experiences—for example, the experience of seeing a cat—were thought to have two quite distinct components. When one sees a cat, one’s experience is “about” the cat: this is the representational or intentional component of the experience. One’s experience also has phenomenal character: this is the sensational component of the experience. Although the intentional and sensational components at least typically go together, in principle they might come apart: the intentional component could be present without the sensational component or vice (...) versa. (shrink)

Traditionally, perceptual experiences—for example, the experience of seeing a cat—were thought to have two quite distinct components. When one sees a cat, one’s experience is “about” the cat: this is the representational or intentional component of the experience. One’s experience also has phenomenal character: this is the sensational component of the experience. Although the intentional and sensational components at least typically go together, in principle they might come apart: the intentional component could be present without the sensational component or vice (...) versa. (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)

Physical objects are such things as stones, tables, trees, people and other animals: the persisting macroscopic constituents of the world we live in. therefore expresses a commonsense commitment to physical realism: the persisting macroscopic constituents of the world we live in exist, and are as they are, quite independently of anyone.

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

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher.

'Mr Bennett, as was to be expected, has written a first-rate book on Kant's Analytic. It is vivid, entertaining, and extremely instructive. It will be found of absorbing interest both by those who already know the Critique and by those - if there are any such - who have a developed interest in philosophy, yet no direct acquaintance with Kant. These last it will surely drive to the text and, as surely, will drive them to approach it in a truly (...) philosophical spirit. Bennett's Kant is not a giant immersed, or frozen, in time. He is a great contemporary - a little out of touch, admittedly, with recent developments in mathematics and physics - but one with whom we can all argue, against him, at his side, or obliquely to him. And so Bennett does argue, continuously, fiercely, and fruitfully; and summons to join in the argument, at appropriate moments, those older contemporaries, Locke, Leibniz, Berkeley, and Hume, and those younger contemporaries, Wittgenstein, Ryle, Ayler, Quine, Quinton, Warnock, and others. This is splendid, and a necessary corrective to that extraordinary isolation in which Kant tends to be islanded, partly indeed, by his own unique qualities, but partly by oceans of the wrong kind of respect. Bennett, continuously engaging his great antagonist, shows the right kind.'. (shrink)

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Work of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the basic (...) general structure of all literary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis. (shrink)

John Searle's Speech Acts and Expression and Meaning developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, though third (...) in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

... ISBN0199215928 ... -/- Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical (...) view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned. -/- . (shrink)

Whether or not we would be happy to do without sounds, the idea that our expe- rience of sounds is of things which are distinct from the world of material objects can seem compelling. All you have to do to confirm it is close your eyes and reflect on the character of your auditory experience.

It is often supposed that our experience of sounds is as of things distinct from the material world of sight and touch: reflecting on the character of our auditory experience might seem to confirm that. This paper describes the features of our auditory experience that can lead one to think of sounds in this way. It then describes a way we can experience sounds as being part of the material world. Since this is a kind of experience that essentially involves (...) more than one sense, the paper ends by drawing some conclusions about how we should think about the senses. (shrink)

The paper argues that material objects are the primary referents of visual states -- not places, as Austen Clark would have it in his A Theory of Sentience.

This book presents an attempt to develop a theory of knowledge and a philosophy of mind using ideas derived from the mathematical theory of communication developed by Claude Shannon. Information is seen as an objective commodity defined by the dependency relations between distinct events. Knowledge is then analyzed as information caused belief. Perception is the delivery of information in analog form for conceptual utilization by cognitive mechanisms. The final chapters attempt to develop a theory of meaning by viewing meaning as (...) a certain kind of information-carrying role. (shrink)

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some highly (...) influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

This textbook on vision reflects the integrated computational approach of modern research scientists, combining psychological, computational and neuroscientific perspectives.

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 ...

Early modern empiricists thought that the nature of perceptual experience is given by citing the object presented to the mind in that experience. Hallucination and illusion suggest that this requires untenable mind-dependent objects. Current orthodoxy replaces the appeal to direct objects with the claim that perceptual experience is characterized instead by its representational content. This paper argues that the move to content is problematic, and reclaims the early modern empiricist insight as perfectly consistent, even in cases of illusion, with the (...) realist contention that these direct objects of perception are the persisting mind-independent physical objects we all know and love. (shrink)

Many organisms possess multiple sensory systems, such as vision, hearing, touch, smell, and taste. The possession of multiple ways of sensing the world offers many benefits. However, combining information from different senses also poses many challenges for the nervous system. In recent years there has been dramatic progress in understanding how information from the different senses gets integrated in order to construct useful representations of external space. This volume brings together the leading researchers from a broad range of scientific approaches (...) to present the first overview of this central topic in cognitive neuroscience. (shrink)

This book discusses principles and theories regarding perception and communication. Relevant research data is presented which support these theories. 2004 APA, all rights reserved).

John Searle's Speech Acts and Expression and Meaning developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, though third (...) in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem. (shrink)

Brian O'Shaughnessy puts forward a bold and original theory of consciousness, one of the most fascinating but puzzling aspects of human existence. He analyses consciousness into purely psychological constituents, according pre-eminence to its epistemological power; the result is an integrated picture of the conscious mind in its natural physical setting. Consciousness and the World is a rich and exciting book, a major contribution to our understanding of the mind.

"Perception is not something that happens to us, or in us," writes Alva Noe. "It is something we do." In Action in Perception, Noe argues that perception and perceptual consciousness depend on capacities for action and thought — that ...

Seeing, Doing, and Knowing is an original and comprehensive philosophical treatment of sense perception as it is currently investigated by cognitive neuroscientists. Its central theme is the task-oriented specialization of sensory systems across the biological domain. Sensory systems are automatic sorting machines; they engage in a process of classification. Human vision sorts and orders external objects in terms of a specialized, proprietary scheme of categories - colours, shapes, speeds and directions of movement, etc. This 'Sensory Classification Thesis' implies that sensation (...) is not a naturally caused image from which an organism must infer the state of the world beyond; it is more like an internal communication, a signal concerning the state of the world issued by a sensory system, in accordance with internal conventions, for the use of an organism's other systems. This is why sensory states are both easily understood and persuasive.Sensory classification schemes are purpose-built to serve the knowledge-gathering and pragmatic needs of particular types of organisms. They are specialized: a bee or a bird does not see exactly what a human does. The Sensory Classification Thesis helps clarify this specialization in perceptual content and supports a new form of realism about the deliverances of sensation: 'Pluralistic Realism' is based on the idea that sensory systems coevolve with an organism's other systems; they are not simply moulded to the external world. The last part of the book deals with reference in vision. Cognitive scientists now believe that vision guides the limbs by means of a subsystem that links up with the objects of physical manipulation in ways that bypass sensory categories. In a novel extension of this theory, Matthen argues that 'motion-guiding vision' is integrated with sensory classification in conscious vision. This accounts for the quasi-demonstrative form of visual states: 'This particular object is red', and so on. He uses this idea to cast new light on the nature of perceptual objects, pictorial representation, and the visual representation of space. (shrink)