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This book explores the mismatch between perception and physical reality, and describes the many factors that influence the perception of space including the ... |
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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. |
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"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 ... |
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In this wide-ranging study, Levine explores both sides of the mind-body dilemma, presenting the first book-length treatment of his highly influential ideas on the How does one explain the physical nature of an experience? This puzzle, the "explanatory gap" between mind and body, is the focus of this work by an influential scholar in the field. |
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Tim Bayne draws on philosophy, psychology, and neuroscience in defence of the claim that consciousness is unified. He develops an account of what it means to say that consciousness is unified, and then applies this account to a variety of cases - drawn from both normal and pathological forms of experience - in which the unity of consciousness is said to break down. He goes on to explore the implications of the unity of consciousness for theories of consciousness, for the (...) |
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The phenomenal character of an experience is what it is like subjectively to undergo the experience. Experiences vary in their phenomenal character, in what it is like to un- dergo them. Think, for example of the subjective differences between feeling a burning pain in a toe, experiencing an itch in an arm, smelling rotten eggs, tasting Marmite, having a visual experience of bright purple, running one’s fingers over rough sandpaper, feeling hungry, experiencing anger, feeling elated. Insofar as what it is (...) |
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This chapter analyzes aspects of the relationship between consciousness and intentionality. It focuses on the phenomenal character and the intentional content of perceptual states, canvassing various possible relations among them. It argues that there is a good case for a sort of representationalism, although this may not take the form that its advocates often suggest. By mapping out some of the landscape, the chapter tries to open up territory for different and promising forms of representationalism to be explored in the (...) |
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First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book has provoked (...) |
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If you trained someone to emit a particular sound at the sight of something red, another at the sight of something yellow, and so on for other colors, still he would not yet be describing objects by their colors. Though he might be a help to us in giving a description. A description is a representation of a distribution in a space (in that of time, for instance). |
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The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are. |
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</b>This commentary focuses on shape constancy in vision and its relation to sensorimotor knowledge. I contrast “Protean” and “Constancian” views about how to describe perspectival changes in the appearance of an object’s shape. For the Protean, these amount to changes in apparent shape; for Constance, things are not merely judged, but literally appear constant in shape. I give reasons in favor of the latter view, and argue that Noë’s attempt to combine aspects of both views in a “dual aspect” account (...) |
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There is something it is like to see a bright red cardinal, to touch a stucco wall, or to hear an ambulance pass by. Each of these experiences has a distinctive phenomenal character. But in virtue of what it is like to have a particular experience---in virtue of the experience's phenomenal character---the world is presented to the subject as being a certain way. ;The dissertation is concerned with the nature of this "phenomenal content". In Chapter One I argue that there (...) |
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