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 (...) immediate knowledge. It is concluded that their arguments are lacking in cogency. (shrink)

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 (...) is cognitively impenetrable. That part of vision is complex and articulated and provides a representation of the 3-D surfaces of objects sufficient to serve as an index into memory, with somewhat different outputs being made available to other systems such as those dealing with motor control. The paper also addresses certain conceptual and methodological issues, including the use of signal detection theory and event-related potentials to assess cognitive penetration of vision. A distinction is made among several stages in visual processing. These include, in addition to the inflexible early-vision stage, a pre-perceptual attention allocation stage and a post-perceptual evaluation, memory-accessing, and inference stage which provide several different highly constrained ways in which cognition can affect the outcome of visual perception. The paper discusses arguments that have been presented in both computer vision and psychology showing that vision is "intelligent" and involves elements of problem solving". It is suggested that these cases do not show cognitive penetration, but rather they show that certain natural constraints on interpretation, concerned primarily with optical and geometrical properties of the world, have been compiled into the visual system. The paper also examines a number of examples where instructions and "hints" are alleged to affect. (shrink)

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 (...) a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute aesthetic qualities like (...) 'beauty' to the object of perception. Moreover, these aesthetic qualities like 'beauty' represent the perceived to have various kinds of value. (shrink)

Some things are funny -- jokes, puns, sitcoms, Charlie Chaplin, The Far Side, Malvolio with his yellow garters crossed -- but why? Why does humor exist in the first place? Why do we spend so much of our time passing on amusing anecdotes, making wisecracks, watching _The Simpsons_? In _Inside Jokes_, Matthew Hurley, Daniel Dennett, and Reginald Adams offer an evolutionary and cognitive perspective. Humor, they propose, evolved out of a computational problem that arose when our long-ago ancestors were furnished (...) with open-ended thinking. Mother Nature -- aka natural selection -- cannot just order the brain to find and fix all our time-pressured misleaps and near-misses. She has to bribe the brain with pleasure. So we find them funny. This wired-in source of pleasure has been tickled relentlessly by humorists over the centuries, and we have become addicted to the endogenous mind candy that is humor. (shrink)

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 (...) are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (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)

Jerrold Levinson maintains that he is a realist about aesthetic properties. This paper considers his positive arguments for such a view. An argument from Roger Scruton, that aesthetic realism would entail the absurd claim that many aesthetic predicates were ambiguous, is also considered and it is argued that Levinson is in no worse position with respect to this argument than anyone else. However, Levinson cannot account for the phenomenon of aesthetic autonomy: namely, that we cannot be put in a position (...) to make an aesthetic judgement by testimony alone. Finally, Levinson's views on the ontology of aesthetic properties are considered and found wanting. /// [Jerrold Levinson] Being an aesthetic realist is hard work. Derek Matravers has raised a number of concerns for the brand of aesthetic realism that I have defended in the past, and that I continue to defend, albeit with modification. Much turns on the nature of aesthetic properties, and on the reasons for acknowledging their existence. I here try to provide further illumination on both scores, suggesting in particular that many aesthetic properties can be viewed as manifest higher-order ways of appearing. Toward the end of my discussion the question of whether or not aesthetic properties are response-dependent is addressed, and I offer the tentative conclusion that some are, and some are not. (shrink)

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.

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 (...) alluded to this alternative before, but I provide a comprehensive account of the view, show how my account significantly differs from past claims, and offer a novel argument for the view. Finally, I show that my account puts us in a position to provide a new objection to the Phenomenal Contrast Argument. (shrink)

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.

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 (...) only some of their lower‐level features that realise their higher‐level aesthetic qualities. Although my concern with the view that aesthetic judgements are subject to non‐inferential justification is very general, my discussion is primarily structured around Sibley's well‐developed and influential version of this view. (shrink)

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 (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

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 (...) exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues. (shrink)

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.

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.

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 (...) uses of adjectives and of the aesthetic significance of tastes and smells, a topic Sibley considered to be much neglected. (shrink)

We propose that aesthetic pleasure is a function of the perceiver's processing dynamics: The more fluently perceivers can process an object, the more positive their aesthetic response. We review variables known to influence aesthetic judgments, such as figural goodness, figure-ground contrast, stimulus repetition, symmetry, and prototypicality, and trace their effects to changes in processing fluency. Other variables that influence processing fluency, like visual or semantic priming, similarly increase judgments of aesthetic pleasure. Our proposal provides an integrative framework for the study (...) of aesthetic pleasure and sheds light on the interplay between early preferences versus cultural influences on taste, preferences for both prototypical and abstracted forms, and the relation between beauty and truth. In contrast to theories that trace aesthetic pleasure to objective stimulus features per se, we propose that beauty is grounded in the processing experiences of the perceiver, which are in part a function of stimulus properties. (shrink)

Recently, several authors have defended a new version of formalism in the aesthetics of nature and attempted to refute earlier arguments against the doctrine. In this essay, we assess this new formalism by reconsidering the force of antiformalist arguments against both traditional formalism and new formalism. While we find that these arguments remain effective against traditional formalism, new formalism falls largely beyond their scope. We therefore provide a novel line of argument for the insignificance of the formal appreciation of nature. (...) This argument suggests that new formalism is inadequate as a theory of the aesthetics of nature. (shrink)

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 (...) pursue moral aims. (shrink)

Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those experiences (...) reflect differences in the objects’ themselves. A range of objections to this position is considered, but all are found wanting. (shrink)

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.

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 (...) in terms of his careful style of argumentation – has raised the level of philosophical discussion concerning the aesthetic appreciation of nature immensely and it has taught us all what is at stake, logically and epistemologically, in advancing a theory of nature appreciation. Carlson has not only presented a bold theory of the aesthetic appreciation of nature; he has also refined a methodological framework and a set of constraints that every researcher in the field must address.Stated summarily, Carlson's view of the appreciation of nature is that it is a matter of scientific understanding; that is, the correct or appropriate form that the appreciation of nature – properly so called – should take is a species of natural history; appreciating nature is a matter of understanding nature under the suitable scientific categories. (shrink)

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 (...) hold that the background knowledge of experts is the cause of their enriched perceptual experience – what is known as cognitive permeation – and so their subsequent beliefs are only mediately justified because they are epistemically dependent on this background knowledge. I argue against this view. Perceptual expertise is not the result of cognitive permeation but is rather the result of perceptual learning, and perceptual learning does not involve cognition in a way that entails cognitive permeation. Perceptual expertise thus provides a means of widening the scope of the immediately justified beliefs that experts can form. (shrink)

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? (...) Focusing on the core object system, the author argues that core object representations have epistemic statuses like beliefs do, despite their many prototypically perceptual features. First, the author argues that it is a sufficient condition on a mental state's having an epistemic status as justified or unjustified that the state is based on reasons. Then the author argues that core object representations are based on reasons, through an examination of both experimental results and key markers of the basing relation. The scope of mental states that are subject to epistemic evaluation as justified or unjustified is not restricted to beliefs. (shrink)

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 (...) our aesthetic response. This challenges the accommodation strategy and suggests that philosophy should adopt a more radical naturalism about aesthetic response. (shrink)

According to a core tenet of contemporary philosophy, aesthetic properties are primarily represented in experiences. Obviously, however, the tenet does not apply in any straightforward manner to many items that nevertheless seem to have aesthetic properties. Examples include literary works, mathematical objects, scientific ideas, and works of conceptual art. Aesthetic properties need not be represented in perceptual experiences, but what is an experience if not a perceptual state? This paper adapts Fred Dretske’s distinction between analogue and digital representation to develop (...) a broad conception of a kind of state that is an experience but need not be perceptual. Aesthetic properties are primarily represented in states so conceived. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...) research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (shrink)

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 (...) based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence. (shrink)

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, (...) insofar as they are immediate judgements made on the basis of, and acquiring their justification from, causally prior sensory states. Yet they may also be reasoned, insofar as they may be the outputs of certain inferences. Crucially, a token aesthetic judgement may be unreasoned and reasoned, simultaneously. A key reason for allowing inference a serious role in aesthetic judgements emerges from reflection upon the nature of aesthetic expertise. (shrink)

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 (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

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 (...) a theory of expertise which emphasizes the role of the conscious mind in expert action. She aims to dispel various myths about experts who proceed without any understanding of what guides their action, and she analyzes research in both philosophy and psychology that is taken to show that conscious control and explicit monitoring of one's movements impedes well practiced skills. Montero explores a wide range of real-life examples of optimal performance, in sports, the performing arts, healthcare, the military, and other fields, and draws from psychology, neuroscience, and literature to offer a refreshing and persuasive view of expertise, according to which expert action generally is and ought to be thoughtful, effortful, and reflective. (shrink)

The problem of aesthetic principles and that of the nature of aesthetic reasons get confronted. If aesthetic reasons play an important role in our aesthetic evaluations and judgments, then both some general aesthetic principles and rules could support them (aesthetic generalism) or again their nature may be particularistic (aesthetic particularism). A recent argument in support of aesthetic generalism as proposed by Oliver Conolly and Bashshar Haydar is presented and criticized for its misapprehension of particularism. Their position of irreversible aesthetic generalism (...) is questioned. Aesthetic particularism is restated by the help of proposals by Jonathan Dancy’s version of moral particularism. (shrink)

Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...) the structure of being garish and being cacophonous. Finally, an explanation is given of how the issue of the structure of aesthetic properties bears on their reality and (presumed) response-dependence. (shrink)

This paper provides an analysis of the concept of an aesthetic property in non-aesthetic terms.

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.