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  1. The Contents of Visual Experience.Susanna Siegel - 2010 - , US: Oxford University Press USA.
    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 (...)
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  • Cognition does not affect perception: Evaluating the evidence for “top-down” effects.Chaz Firestone & Brian Scholl - 2016 - Behavioral and Brain Sciences 39:1-72.
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  • Thought in Action: Expertise and the Conscious Mind.Barbara Montero - 2016 - Oxford, United Kingdom: Oxford University Press UK.
    How does thinking affect doing? There is a widely held view that thinking about what you are doing, as you are doing it, hinders performance. Once you have acquired the ability to putt a golf ball, play an arpeggio on the piano, or parallel-park, reflecting on your actions leads to inaccuracies, blunders, and sometimes even utter paralysis--that's what is widely believed. But is it true? After exploring some of the contemporary and historical manifestations of the idea, Barbara Gail Montero develops (...)
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  • Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
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  • Aesthetics as Philosophy of Perception.Bence Nanay - 2016 - Oxford, United Kingdom: Oxford University Press UK.
    Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we (...)
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  • (1 other version)Is vision continuous with cognition?: The case for cognitive impenetrability of visual perception.Zenon Pylyshyn - 1999 - Behavioral and Brain Sciences 22 (3):341-365.
    Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - in other words it (...)
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  • Cognitive Penetrability of Perception.Dustin Stokes - 2013 - Philosophy Compass 8 (7):646-663.
    Perception is typically distinguished from cognition. For example, seeing is importantly different from believing. And while what one sees clearly influences what one thinks, it is debatable whether what one believes and otherwise thinks can influence, in some direct and non-trivial way, what one sees. The latter possible relation is the cognitive penetration of perception. Cognitive penetration, if it occurs, has implications for philosophy of science, epistemology, philosophy of mind, and cognitive science. This paper offers an analysis of the phenomenon, (...)
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  • From supervenience to superdupervenience: Meeting the demands of a material world.Terence E. Horgan - 1993 - Mind 102 (408):555-86.
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  • (2 other versions)The Visual Experience of Causation.Susanna Siegel - 2010 - In The Contents of Visual Experience. , US: Oxford University Press USA.
    This chapter argues, using the method of phenomenal contrast, that causation is represented in visual experience. The conclusion is contrasted with the conclusions drawn by Michotte in his book The Perception of Causation.
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  • Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  • Everyday Aesthetics.Yuriko Saito - 2007 - Oxford, GB: Oxford University Press.
    Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can (...)
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  • Do We Perceive Natural Kind Properties?Berit Brogaard - 2013 - Philosophical Studies 162 (1):35 - 42.
    I respond to three arguments aimed at establishing that natural kind properties — a kind of high-level properties — occur in the experiential content of visual perceptual experience: the argument from phenomenal difference, the argument from mandatory seeing, and the argument from associative agnosia. I conclude with a simple argument against the view that natural kind properties occur in the experiential content of visual experience.
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  • Art and its Objects.Richard Wollheim - 1968 - Cambridge, United Kingdom: Cambridge University Press. Edited by Richard Thomas Eldridge.
    Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...)
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  • The Epistemic Role of Core Cognition.Zoe Jenkin - 2020 - Philosophical Review 129 (2):251-298.
    According to a traditional picture, perception and belief have starkly different epistemic roles. Beliefs have epistemic statuses as justified or unjustified, depending on how they are formed and maintained. In contrast, perceptions are “unjustified justifiers.” Core cognition is a set of mental systems that stand at the border of perception and belief, and has been extensively studied in developmental psychology. Core cognition's borderline states do not fit neatly into the traditional epistemic picture. What is the epistemic role of these states? (...)
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  • Everyday aesthetics.Yuriko Saito - 2001 - Philosophy and Literature 25 (1):87-95.
    Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.
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  • (1 other version)Cognitive Penetration and the Perception of Art (Winner of 2012 Dialectica Essay Prize).Dustin Stokes - 2014 - Dialectica 68 (1):1-34.
    There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...)
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  • Rich perceptual content and aesthetic properties.Dustin Stokes - 2018 - In Anna Bergqvist & Robert Cowan (eds.), Evaluative Perception. Oxford, United Kingdom: Oxford University Press.
    Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I offer (...)
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  • Aesthetic and nonaesthetic.Frank Sibley - 1965 - Philosophical Review 74 (2):135-159.
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  • Inside Jokes: Using Humor to Reverse-Engineer the Mind.Matthew M. Hurley, Daniel Clement Dennett & Reginald B. Adams - 2011 - MIT Press.
    Why do we spend so much of our time passing on amusing anecdotes, making wisecracks,watching The Simpsons? In Inside Jokes, Matthew Hurley, DanielDennett, and Reginald Adams offer an evolutionary and cognitive perspective.
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  • The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • Beyond Art.Dominic Lopes - 2014 - New York, NY: Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  • (6 other versions)Perceptual Learning: The Flexibility of the Senses.Kevin Connolly - 2018 - OUP USA.
    Experts from wine tasters to radiologists to bird watchers have all undergone perceptual learning-long-term changes in perception that result from practice or experience. Philosophers have been discussing such cases for centuries, from the 14th-century Indian philosopher Vedanta Desika to the 18th-century Scottish philosopher Thomas Reid, and into contemporary times. -/- This book uses recent evidence from psychology and neuroscience to show that perceptual learning is genuinely perceptual, rather than post-perceptual. It also offers a taxonomy for classifying cases in the philosophical (...)
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  • Expert Knowledge by Perception.Madeleine Ransom - 2020 - Philosophy 95 (3):309-335.
    Does the scope of beliefs that people can form on the basis of perception remain fixed, or can it be amplified with learning? The answer to this question is important for our understanding of why and when we ought to trust experts, and also for assessing the plausibility of epistemic foundationalism. The empirical study of perceptual expertise suggests that experts can indeed enrich their perceptual experiences through learning. Yet this does not settle the epistemic status of their beliefs. One might (...)
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  • Perceptual Learning and the Contents of Perception.Kevin Connolly - 2014 - Erkenntnis 79 (6):1407-1418.
    Suppose you have recently gained a disposition for recognizing a high-level kind property, like the property of being a wren. Wrens might look different to you now. According to the Phenomenal Contrast Argument, such cases of perceptual learning show that the contents of perception can include high-level kind properties such as the property of being a wren. I detail an alternative explanation for the different look of the wren: a shift in one’s attentional pattern onto other low-level properties. Philosophers have (...)
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  • Art and Visual Perception: A Psychology of the Creative Eye.Rudolph Arnheim - 1956 - Philosophy and Phenomenological Research 16 (3):425-426.
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  • The Pervasiveness of the Aesthetic in Ordinary Experience.Sherri Irvin - 2008 - British Journal of Aesthetics 48 (1):29-44.
    I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...)
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  • Waltonian Perceptualism.Madeleine Ransom - 2020 - The Journal of Aesthetics and Art Criticism 78 (1):66-70.
    Kendall Walton’s project in ‘Categories of Art’ (1970) is to answer two questions. First, does the history of an artwork’s production determine its aesthetic properties? Second, how – if at all – should knowledge of the history of a work’s production influence our aesthetic judgments of its properties? While his answer to the first has been clearly understood, his answer to the second less so. Contrary to how many have interpreted Walton, such knowledge is not necessary for making aesthetic judgments; (...)
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  • The aesthetic function of art.Gary Iseminger - 2004 - Ithaca, N.Y.: Cornell University Press. Edited by Kevin A. Stoehr.
    Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.
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  • Frauds, Posers And Sheep: A Virtue Theoretic Solution To The Acquaintance Debate.Madeleine Ransom - 2017 - Philosophy and Phenomenological Research 98 (2):417-434.
    The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...)
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  • Approach to aesthetics: collected papers on philosophical aesthetics.Frank Sibley (ed.) - 2001 - New York: Oxford University Press.
    A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative (...)
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  • Visual experience of natural kind properties: is there any fact of the matter?Heather Logue - 2013 - Philosophical Studies 162 (1):1-12.
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  • What's wrong with immediate knowledge?William P. Alston - 1983 - Synthese 55 (April):73-96.
    Immediate knowledge is here construed as true belief that does not owe its status as knowledge to support by other knowledge (or justified belief) of the same subject. The bulk of the paper is devoted to a criticism of attempts to show the impossibility of immediate knowledge. I concentrate on attempts by Wilfrid Sellars and Laurence Bonjour to show that putative immediate knowledge really depends on higher-level knowledge or justified belief about the status of the beliefs involved in the putative (...)
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  • Appreciation and the natural environment.Allen Carlson - 1979 - Journal of Aesthetics and Art Criticism 37 (3):267-275.
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  • Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2009 - British Journal of Aesthetics 53 (2):139-164.
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  • Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...)
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  • Cognitive penetrability : a no-progress report.Edouard Machery - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford: Oxford University Press.
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  • Perceptual learning.Robert L. Goldstone & Lisa A. Byrge - 2015 - In Mohan Matthen (ed.), The Oxford Handbook of the Philosophy of Perception. New York, NY: Oxford University Press UK.
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  • Art and Visual Perception: The New Version.Rudolf Arnheim - 1969 - Journal of Aesthetics and Art Criticism 34 (3):361-364.
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  • Attentional Weighting in Perceptual Learning.Madeleine Ransom - 2020 - Journal of Consciousness Studies 27 (7-8):236-248.
    Perceptual learning is an enduring change in the perceptual system – and our resulting perceptions – due to practice or repeated exposure to a perceptual stimulus. It is involved in the acquisition of perceptual expertise: the ability to make rapid and reliable high-level categorizations of objects unavailable to novices. Attentional weighting is one process by which perceptual learning occurs. Advancing our understanding of this process is of particular importance for understanding what is learned in perceptual learning. Attentional weighting seems to (...)
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  • Non‐Inferentialism about Justification – The Case of Aesthetic Judgements.Fabian Dorsch - 2013 - Philosophical Quarterly 63 (253):660-682.
    In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...)
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  • Perception in Practice.Dominic McIver Lopes & Madeleine Ransom - 2022 - Review of Philosophy and Psychology 14 (2):387-400.
    A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment.
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  • Imagination and the aesthetic appreciation of nature.Emily Brady - 1998 - Journal of Aesthetics and Art Criticism 56 (2):139-147.
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  • (1 other version)Artistic crimes: The problem of forgery in the arts.Denis Dutton - 1979 - British Journal of Aesthetics 19 (4):302-314.
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  • (1 other version)The Aesthetic Function of Art.Gary Iseminger - 1999 - The Proceedings of the Twentieth World Congress of Philosophy 4:169-176.
    Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...)
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  • Who's Afraid of Conceptual Art?Peter Goldie & Elisabeth Schellekens - 2009 - Routledge.
    What is conceptual art? Is it really a kind of art in its own right? Is it clever – or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the (...)
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  • Feckless Reason.Dominic McIver Lopes - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press. pp. 21-36.
    Empirical research on aesthetic response poses two challenges to philosophy. The more familiar challenge is that scientific explanations of aesthetic responses debunk what we take to be our reasons for those responses. One reaction to this challenge is an accommodation strategy that seeks to reconcile the scientific findings with an improved understanding of our normative reasons. This paper presents a more fundamental challenge: a well-established body of research in social psychology indicates that we routinely confabulate the reasons we give for (...)
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  • Kendall Walton's 'categories of art': A critical commentary.Brian Laetz - 2010 - British Journal of Aesthetics 50 (3):287-306.
    most famous and, arguably, most important papers in modern aesthetics. Despite this, and the various references to it and discussions of it within the literature, there are no general commentaries on this essay. In addition to outlining a general framework for approaching the article, I identify and explicate the two main exegetical issues regarding it. The first concerns how to understand Walton's main thesis that the aesthetic character of artworks is determined, in part, by their ‘correct category’. I suggest that (...)
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  • On being moved by nature: between religion and natural history.Noël Carroll - 1993 - In . Cambridge University Press. pp. 244-266.
    INTRODUCTIONFor the last two and a half decades – perhaps spurred onwards by R. W. Hepburn's seminal, wonderfully sensitive and astute essay “Contemporary Aesthetics and the Neglect of Natural Beauty” – philosophical interest in the aesthetic appreciation of nature has been gaining momentum. One of the most coherent, powerfully argued, thorough, and philosophically compelling theories to emerge from this evolving arena of debate has been developed over a series of articles by Allen Carlson. The sophistication of Carlson's approach – especially (...)
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  • Particularity, Art and Evaluation.F. N. Sibley - 1974 - Aristotelian Society Supplementary Volume 48 (1):1-22.
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  • Work and object: explorations in the metaphysics of art.Peter Lamarque - 2010 - New York: Oxford University Press.
    Issues about the creation of works, what is essential and inessential to their identity, their distinct kinds of properties, including aesthetic properties, ...
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