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)

There is a view abroad on which perceptual experience has representational content in this sense: in it something is represented to the perceiver as so. On the view, a perceptual experience has a face value at which it may be taken, or which may be rejected. This paper argues that that view is mistaken: there is nothing in perceptual experience which makes it so that in it anything is represented as so. In that sense, the senses are silent, or, in (...) Austin's term, dumb. Perceptual experience is not as such either veridical or delusive. It may mislead, but it does not take representation to accomplish that. (shrink)

The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination.

Research on human infants has begun to shed light on early-developing processes for segmenting perceptual arrays into objects. Infants appear to perceive objects by analyzing three-dimensional surface arrangements and motions. Their perception does not accord with a general tendency to maximize figural goodness or to attend to nonaccidental geometric relations in visual arrays. Object perception does accord with principles governing the motions of material bodies: Infants divide perceptual arrays into units that move as connected wholes, that move separately from one (...) another, that tend to maintain their size and shape over motion, and that tend to act upon each other only on contact. These findings suggest that o general representation of object unity and boundaries is interposed between representations of surfaces and representations of objects of familiar kinds. The processes that construct this representation may be related to processes of physical reasoning. (shrink)

Most of us create and use a panoply of non-sentential representations throughout our ordinary lives: we regularly use maps to navigate, charts to keep track of complex patterns of data, and diagrams to visualize logical and causal relations among states of affairs. But philosophers typically pay little attention to such representations, focusing almost exclusively on language instead. In particular, when theorizing about the mind, many philosophers assume that there is a very tight mapping between language and thought. Some analyze utterances (...) as the outer vocalizations of inner thoughts (e.g. Grice 1957, Devitt 2005), while others treat thought as a form of inner speech (e.g. Sellars 1956/1997, Carruthers 2002). But even philosophers who take no stand on the relative priority of language and thought still tend to individuate mental states in terms of the sentences we use to ascribe them. Indeed, Dummett (1993) claims that it is constitutive of analytic philosophy that it approaches the mind by way of language. In many ways, this linguistic model is salutary. Our thoughts are often intimately intertwined with their linguistic expression, and public language does provide a comparatively tractable proxy for, and a window into, the messier realm of thought. However, an exclusive focus on thought as it is expressed in language threatens to leave other sorts of thought unexplained, or even to blind us to their possibility. In particular, many cognitive ethologists and psychologists find it useful to talk about humans, chimpanzees, birds, rats, and even bees as employing cognitive maps. We need to make sense of this way of talking about minds as well as more familiar sentential descriptions. In what follows, I investigate the theoretical and practical possibility of non-sentential thought. Ultimately, I am most interested in the contours of distinctively human thought: what forms does human thought take, and how do those different forms interact? How does human thought compare with that of other animals? In this essay, however, I focus on a narrower and more basic theoretical question: could thought occur in maps? Many philosophers are convinced that in some important sense, thought per se must be language-like.. (shrink)

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

I believe that the notion of epistemic transparency does play an important role in our ordinary conception of mental content and I want to say what that role is. Unfortunately, the task is a large one; here I am able only to begin on its outline. I shall proceed somewhat indirectly, beginning with a discussion of externalist conceptions of mental content. I shall show that such conceptions violate epistemic transparency to an extent that has not been fully appreciated. Subsequently, I (...) shall look at the implications of this violation and at the reconstructive project that a rejection of transparency entails. I am inclined to think it unlikely that we will get a conception of propositional content that underwrites epistemic transparency. But I am concerned that we have not fully appreciated the role that transparency currently plays and the work that would need to be done were we to discard it. (shrink)

Seattle rain smelled different from New Orleans rain…. New Orleans rain smelled of sulfur and hibiscus, trumpet metal, thunder, and sweat. Seattle rain, the widespread rain of the Great Northwest, smelled of green ice and sumi ink, of geology and silence and minnow breath.— Tom Robbins, Jitterbug PerfumeMuch of the philosophical literature on perception has focused on vision. This is not surprising, given that vision holds for us a certain prestige. Our visual experience is incredibly rich, offering up a mosaic (...) of apparent three-dimensional objects. For this reason, it is commonplace to suppose that visual experience is world-directed, with the view taking its most popular form in the representational, or content, view. World-directed views contrast with what we might call subjectivist views — views according to which experiences are raw feels or mere sensations. (shrink)

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (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.

Kant argued that the perceptual representations of space and time were templates for the perceived spatiotemporal ordering of objects, and common to all modalities. His idea is that these perceptual representations were specific to no modality, but prior to all—they are pre-modal, so to speak. In this paper, it is argued that active perception—purposeful interactive exploration of the environment by the senses—demands premodal representations of time and space.

The goal of this paper is to challenge the rather insouciant attitude that many investigators seem to adopt when they go about describing the items and events in their " visual fields". There are at least three distinct categories of interpretation of what these reports might mean, and only under one of those categories do those reports have anything resembling an observational character. The others demand substantive revisions in one's beliefs about what one sees. The ur-concept of a " visual (...) field" is that of the "sum of things seen", but one can interpret the latter in very different ways. The first is the "field of view", or the sum of physical things seen. The second is an array of visual impressions, whose spatial relations are distinct from those of physical phenomena in front of the eyes. The third is an intentional object: the world as it is represented visually. These three categories are described, and various locutions of vision science--such as "optic array", "retinocentric space", " visual geometry", "virtual object" and others--are analyzed and variously located within them. Finally, a recent argument purporting to necessitate the existence of a version two visual field is examined and shown wanting. (shrink)

When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator functions in (...) the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)

Neurath's proposal for the form of protocol statements explicates the multiple embedding of a singular sentence as specifying different conditions for the acceptance of such a sentence as a bona fide scientific datum. Before theories are accepted or rejected in the light of such evidence, however, a further condition must be met which Neurath did not formalize. The different conditions are discussed and shown to constitute a naturalistic theory of scientific data and a pragmatic theory of theory acceptance.

What colour does a white wall look in the pinkish light of the late afternoon? Philosophers disagree: they hold variously that it looks pink, white, both, and no colour at all. A new approach is offered. After reviewing the dispute, a reinterpretation of perceptual constancy is offered. In accordance with this reinterpretation, it is argued that perceptual features such as color must always be predicated of perceptual objects. Thus, it might be that in pinkish light, the wall looks white and (...) the light looks pink. The paper concludes by discussing some criteria for object identification in perceptual states. (shrink)