Elements of Mind provides a unique introduction to the main problems and debates in contemporary philosophy of mind. Author Tim Crane opposes those currently popular conceptions of the mind that divide mental phenomena into two very different kinds (the intentional and the qualitative) and proposes instead a challenging and unified theory of all the phenomena of mind. In light of this theory, Crane engages students with the central problems of the philosophy of mind--the mind-body problem, the problem of intentionality (or (...) mental representation), the problem of consciousness, and the problem of perception--and attempts to find solutions to these problems. A fresh and engaging exploration of the main issues in the philosophy of mind, Elements of Mind is easily accessible to students with no background in the subject. (shrink)

Elements of Mind (EM) has two themes, one major and one minor. The major theme is intentionality, the mind’s direction upon its objects; the other is the mind–body problem. I treat these themes separately: chapters 1, and 3–5 are concerned with intentionality, while chapter 2 is about the mind–body problem. In this summary I will first describe my view of the mind–body problem, and then describe the book’s main theme. Like many philosophers, I see the mind–body problem as containing two (...) sub–problems: the problem of mental causation and the problem of consciousness. I see these problems forming the two horns of a dilemma. Just as the problem of mental causation pushes us towards physicalism, so the problem of consciousness pushes us away from it. Each problem reveals the inadequacy of the solution to the other. Essentially the problem of mental causation is the conflict between (i) the apparent fact that mental states and events have effects in the physical world and (ii) a general principle about the causal nature of the physical world, which is sometimes called the ‘causal closure’ or the ‘causal completeness’ of the physical world. This principle says that all physical effects have physical causes which are enough to bring them about. The problem then is simple: how can a mental cause have a physical effect if that effect also has a physical cause which is enough to bring it about? Barring massive overdetermination of our actions by independent causes, it seems that the best answer is to identify the mental and the physical causes. And this is traditionally how physicalists have argued for their identity theory of mind and body. However, many physicalists reject the identity theory, and therefore they have to solve the mental causation problem in some other way. At present, there is no consensus among physicalists on which of the currently proposed solutions is correct. In chapter 2 of EM I propose an alternative, which I call ‘emergentism’. Inspired by the rejection of the identity theory, Emergentism is the idea that mental properties are genu.. (shrink)

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 (...) future. In particular, it argues for a nonreductive, narrow, and Fregean variety of representationalism, which contrasts strongly with more widely explored varieties. It concludes with some words about the fundamental relationship between consciousness and intentionality. (shrink)

Introduction -- A default position -- Experience -- The character of experience -- Understanding-experience -- A note about dispositional mental states -- Purely experiential content -- An account of four seconds of thought -- Questions -- The mental and the nonmental -- The mental and the publicly observable -- The mental and the behavioral -- Neobehaviorism and reductionism -- Naturalism in the philosophy of mind -- Conclusion: The three questions -- Agnostic materialism, part 1 -- Monism -- The linguistic argument (...) -- Materialism and monism -- A comment on reduction -- The impossibility of an objective phenomenology -- Asymmetry and reduction -- Equal-status monism -- Panpsychism -- The inescapability of metaphysics -- Agnostic materialism, part 2 -- Ignorance -- Sensory spaces -- Experience, explanation, and theoretical integration -- The hard part of the mind-body problem -- Neutral monism and agnostic monism -- A comment on eliminativism, instrumentalism, and so on -- Mentalism, idealism, and immaterialism -- Mentalism -- Strict or pure process idealism -- Active-principle idealism -- Stuff idealism -- Immaterialism -- The positions restated -- The dualist options -- Frege's thesis -- Objections to pure process idealism -- The problem of mental dispositions -- Mental -- Shared abilities -- The sorting ability -- The definition of mental being -- Mental phenomena -- The view that all mental phenomena are experiential phenomena -- Natural intentionality -- E/c intentionality -- The experienceless -- Intentionality and abstract and nonexistent objects -- Experience, purely experiential content, and n/c intentionality -- Concepts in nature -- Intentionality and experience -- Summary with problem -- Pain and pain -- The neo-behaviorist view -- A linguistic argument for the necessary connection between pain and behavior -- A challenge -- The Sirians -- N.N. Novel -- An objection to the Sirians -- The Betelgeuzians -- The point of the Sirians -- Functionalism, naturalism, and realism about pain -- Unpleasantness and qualitative character -- The weather watchers -- The rooting story -- What is it like to be a weather watcher? -- The aptitudes of mental states -- The argument from the conditions for possessing the concept of space -- The argument from the conditions for language ability -- The argument from the nature of desire -- Desire and affect -- The argument from the phenomenology of desire -- Behavior -- A hopeless definition -- Difficulties -- Other-observability -- Neo-behaviorism -- The concept of mind. (shrink)

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

John Searle's Speech Acts (1969) and Expression and Meaning (1979) 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)

According to perceptualism, fluent comprehension of speech is a perceptual achievement, in as much as it is akin to such high-level perceptual states as the perception of objects as cups or trees, or of people as happy or sad. According to liberalism, grasp of meaning is partially constitutive of the phenomenology of fluent comprehension. I here defend an influential line of argument for liberal perceptualism, resting on phenomenal contrasts in our comprehension of speech, due to Susanna Siegel and Tim Bayne, (...) against objections from Casey O'Callaghan and Indrek Reiland. I concentrate on the contrast between the putative immediacy of meaning-assignment in fluent comprehension, as compared with other, less ordinary, perhaps translation-based ways of getting at the meaning of speech. I argue this putative immediacy is difficult to capture on a non-perceptual view (whether liberal or non-liberal), and that the immediacy in question has much in common with that which applies in other, less controversial cases of high-level perception. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (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)

Abstract: This paper seeks to establish whether the cognitive penetration of experience is compatible with experience having nonconceptual content. Cognitive penetration occurs when one’s beliefs or desires affect one’s perceptual experience in a particular way. I examine two different models of cognitive penetration and four different accounts of the distinction between conceptual and nonconceptual content. I argue that one model of cognitive penetration—“classic” cognitive penetration—is compatible with only one of the accounts of nonconceptual content that I identify. I then consider (...) the other model of cognitive penetration—cognitive penetration “lite”. I provide reasons to think that this is compatible with three accounts of nonconceptual content. Moreover, I argue that the account of nonconceptual content that it is not compatible with is a spurious notion of nonconceptual content that ought to be abandoned. Thus, I claim that cognitive penetration lite is compatible with all reasonable specifications of nonconceptual content. (shrink)

Recent work on consciousness has featured a number of debates on the existence and character of controversial types of phenomenal experience. Perhaps the best-known is the debate over the existence of a sui generis, irreducible cognitive phenomenology – a phenomenology proper to thought. Another concerns the existence of a sui generis phenomenology of agency. Such debates bring up a more general question: how many types of sui generis, irreducible, basic, primitive phenomenology do we have to posit to just be able (...) to describe the stream of consciousness? This book offers a first general attempt to answer this question in contemporary philosophy. It develops a unified framework for systematically addressing this question and applies it to six controversial types of phenomenal experience, namely, those associated with thought and judgment, will and agency, pure apprehension, emotion, moral thought and experience, and the experience of freedom. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

The goal of this chapter is to mount a critique of the claim that cognitive content (that is, the kind of content possessed by our concepts and thoughts) makes a constitutive contribution to the phenomenal properties of our mental lives. We therefore defend the view that phenomenal consciousness is exclusively experiential (or nonconceptual) in character. The main focus of the chapter is on the alleged contribution that concepts make to the phenomenology of visual experience. For we take it that if (...) cognitive phenomenology is to be found anywhere, it should be found here. However, we begin with a discussion of the question of cognitive phenomenology more generally, and we close by sketching how our argument might be extended into the domain of non-perceptual thought. (shrink)

A number of philosophers endorse, without argument, the view that there’s something it’s like consciously to think that p, which is distinct from what it’s like consciously to think that q. This thesis, if true, would have important consequences for philosophy of mind and cognitive science. In this paper I offer an argument for it, and attempt to induce examples of it in the reader. The argument claims it would be impossible introspectively to distinguish conscious thoughts with respect to their (...) content if there weren’t something it’s like to think them. This argument is defended against several objections. Then I use what I call “minimal pair” experiences—sentences read without and with understanding—to induce in the reader an experience of the kind I claim exists. Further objections are considered and rebutted. (shrink)

Can the phenomenal character of perceptual experience be altered by the states of one's cognitive system, for example, one's thoughts or beliefs? If one thinks that this can happen then one thinks that there can be cognitive penetration of perceptual experience; otherwise, one thinks that perceptual experience is cognitively impenetrable. I claim that there is one alleged case of cognitive penetration that cannot be explained away by the standard strategies one can typically use to explain away alleged cases. The case (...) is one in which it seems subjects' beliefs about the typical colour of objects affects their colour experience. I propose a two-step mechanism of indirect cognitive penetration that explains how cognitive penetration may occur. I show that there is independent evidence that each step in this process can occur. I suspect that people who are opposed to the idea that perceptual experience is cognitively penetrable will be less opposed to the idea when they come to consider this indirect mechanism and that those who are generally sympathetic to the idea of cognitive penetrability will welcome the elucidation of this plausible mechanism. (shrink)

There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways pictures (...) represent--the different kinds of meaning they have--and argues that that depiction's epistemic value lies in its representational diversity. He also offers a novel account of the phenomenology of pictorial experience, comparing pictures to visual prostheses like mirrors and binoculars. (shrink)

[Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining seeing. Neither view gives (...) a correct account of how the spectator distributes his attention between the marked surface and the represented object. /// [Robert Hopkins] I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

In this paper I will introduce the reader to Carl Stumpf’s philosophy through a discussion of a problem about simultaneous perception of several objects. This problem is at the heart of several of his works and therefore well suited for my purpose.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

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)

Phenomenology is about subjective aspects of the mind, such as the conscious states associated with vision and touch, and the conscious states associated with emotions and moods, such as feelings of elation or sadness. These states have a distinctive first-person ‘feel’ to them, called their phenomenal character. In this respect they are often taken to be radically different from mental states and processes associated with thought. This is the first book to fully question this orthodoxy and explore the prospects of (...) cognitive phenomenology, applying phenomenology to the study of thought and cognition. Does cognition have its own phenomenal character? Can introspection tell us either way? If consciousness flows in an unbroken ‘stream’ as William James argued, how might a punctuated sequence of thoughts fit into it? Elijah Chudnoff begins with a clarification of the nature of the debate about cognitive phenomenology and the network of concepts and theses that are involved in it. He then examines the following topics: • Introspection and knowledge of our own thoughts • Phenomenal contrast arguments • The value of consciousness • The temporal structure of experience • The holistic character of experience and the interdependence of sensory and cognitive states • The relationship between phenomenal character and mental representation -/- Including chapter summaries, annotated further reading, and a glossary, this book is essential reading for anyone seeking a clear and informative introduction to and assessment of cognitive phenomenology, whether philosophy student or advanced researcher. It will also be valuable reading for those in related subjects such as philosophy of mind, philosophy of psychology and epistemology. (shrink)

Representationalists hold that the phenomenal character of a perceptual experience is identical with, or supervenes on, an aspect of its representational content. As such, representationalism could be disproved by a counter-example consisting of two experiences that have the same representational content but differ in phenomenal character. In this paper, I discuss two recently proposed counter-examples to representationalism that involve ambiguous or reversible figures. I pursue two goals. My first, and most important, goal is to show that the representationalist can offer (...) plausible responses to both counter-examples. My second goal is to show the implications of these responses for the nature of the spatial representational contents of perceptual experiences. (shrink)

In this paper I investigate an underappreciated element of Husserl’s phenomenology of images: the consciousness of the depicted subject, which Husserl calls the Sujetintention, e.g. the awareness of the sitter of a portrait. Husserl claims that when a consciousness regards a figurative image, it is absorbed in the awareness of the depicted subject and yet this subject some how withholds its presence in the midst of its appearance in the image-object. Image-consciousness is an intuitive consciousness that intends a being that (...) is both ‘in’ and ‘beyond’ the image: the depicted subject haunts the image. Borrowing Richard Wollheim’s language, the aim of this study is to determine what it means for a consciousness to see a depicted-subject in an image-depiction, which happens on the basis of seeing an image-object in a material image-thing, like paint, canvas, ink, paper etc. Restricting myself to figurative images, I will argue against the view that the relation to the depicted subject is symbolic or signitive. I argue that the consciousness of the Sujet is quasi-perceptual, which allows for a better account of the depicted subject’s sense of absence. I develop this view on the basis of Husserl’s claims that the depicted subject is the bearer of norms inherent to intuitive appearances, which concern how the profiles and movements of an object ought to unfold, though they fail to do so for image-consciousness. This failure is not a mere privation for the image as a perceptual appearance but is inherent to its status as a mediated and artificial presence. (shrink)

Does thought have distinctive experiential features? Is there, in addition to sensory phenomenology, a kind of cognitive phenomenology--phenomenology of a cognitive or conceptual character? Leading philosophers of mind debate whether conscious thought has cognitive phenomenology and whether it is part of conscious perception and conscious emotion.

This essay explores the prospects of grounding an account of pictorial experience or ‘seeing-in’ on a theory of presence in ordinary perception. Even though worldly objects can be perceptually recognized in a picture, they do not feel present as when they are perceived face to face. I defend a dual view of perceptual phenomenology according to which the sense of presence is dissociated from the contents of perception. On the one hand, the sense of presence is best conceived as a (...) non-sensory feeling. Ordinary objects are felt but not seen to be present. On the other hand, the contents of perception are determined by the actualization of perceptual-recognitional abilities. Unlike current versions of the feeling-based account of the sense of presence, I claim that these abilities enable us to perceive worldly (partial or overall) appearances. This claim justifies the strongest interpretation of recognition theories which does not fall back on the view that pictorial experience involves a kind of perceptual illusion. (shrink)

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence depends on the visual (...) representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...) be pictorially perceived, not even indirectly. So, even if a picture is three-layered, pictorial experience remains a twofold experience, as Wollheim claimed. Neither the proponents of threefoldness nor Wollheim himself, however, have convincingly explained how the experience really is a perceptual experience. My Wollheimian account thus aims to reconceive the pictorial experience in properly perceptual terms. (shrink)

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence depends on the visual (...) representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to (...) Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an (...) important albeit controversial role in understanding picture perception is replaced by the concept of threefoldness. (shrink)

In this paper we claim, first, that there are high-level visual experiences of grouping properties, i.e., properties that an array of elements we see can have to be organised in a certain way. Second, we argue that there are auditory experiences of groupings that share certain important properties with visual experiences of groupings, thereby being perceptual and high-level as well. Third, these results enable us to understand the nature and structure of our meaning experiences. We claim that, although meaning experiences (...) depend on the auditory experiences we discuss, they are not perceptual, for they lack one of the features that make those auditory experiences perceptual; namely, being holistically attended to. (shrink)

Listening to speech in a language you know differs phenomenologically from listening to speech in an unfamiliar language, a fact often exploited in debates about the phenomenology of thought and cognition. It is plausible that the difference is partly perceptual. Some contend that hearing familiar language involves auditory perceptual awareness of meanings or semantic properties of spoken utterances; but if this were so, there must be something distinctive it is like auditorily to perceptually experience specific meanings of spoken utterances. However, (...) an argument from homophony shows that auditory experiences do not resolve differences in meaning not marked by differences in sound. I propose an alternative explanation of the perceptual phenomenal difference in terms of perceptual awareness of language-specific but non-semantic features. (shrink)

This book comprises material on colour which was written by Wittgenstein in the last eighteen months of his life. It is one of the few documents which shows him concentratedly at work on a single philosophical issue. The principal theme is the features of different colours, of different kinds of colour (metallic colour, the colours of flames, etc.) and of luminosity—a theme which Wittgenstein treats in such a way as to destroy the traditional idea that colour is a simple and (...) logically uniform kind of thing. This edition consists of Wittgenstein's basic German text, together with an English translation. (shrink)