The philosophical investigation of perceptual illusions can generate fruitful insights in the study of subjective time consciousness. However, the way illusions are interpreted is often controversial. Recently, proponents of the so-called dynamic snapshot theory have appealed to the Waterfall Illusion, a kind of motion aftereffect, to support a particular view of temporal consciousness according to which experience is structured as a series of instantaneous snapshots with dynamic qualities. This dynamism is meant to account for familiar features of the phenomenology of (...) time, such as succession, continuity, and change. Previous theories have typically appealed to a subjective present occupying an interval of time; that is, a “specious present.” I argue, through analysis of motion aftereffect illusions and the rare condition of akinetopsia, i.e. motion-blindness, that the Waterfall Illusion fails to support the dynamic snapshot theory as intended. Furthermore, I suggest that future theories of subjective time should see temporal phenomenology as the result of non-localised processes closely tied to the mechanism underlying consciousness generally. (shrink)

In the flash-lag effect a non-moving object is quickly flashed directly underneath a moving object, which leads us to perceive the non-moving object as “lagging” the moving object, even though the two objects actually occupy the same horizontal position at the time of the flash. In the example above, for instance, a red square moves across a screen. At the midpoint of the red square’s journey from one side to the other, a green square is quickly presented (flashed) just below. (...) Despite the fact that the two stimuli are presented at the same coordinates along the x axis, the stationary square is perceived as behind the moving square. The perceived lag of the flashed stationary object becomes greater when the speed of the moving object is increased and vice versa (Nijhawan 1994). (shrink)

How would you feel about your husband, wife, or partner masturbating using pornography or erotica? For many, this would be a betrayal – a kind of cheating. I explore whether monogamous relationships should forbid solo masturbation using erotica and pornography, considering two possible objections: (1) the objection that such activity is a kind of infidelity; (2) the objection that such activity involves attitudes, usually attitudes towards women that are incompatible with an equal, loving relationship. I argue that the use of (...) erotic material in solo masturbation should not count as cheating. Solo use of pornography differs significantly from interpersonal sexual activity. Thus, unlike causal interpersonal sex, it does not undermine the role of sex within the relationship. Additionally, freedom to explore sexual fantasy through masturbation is an important element of sexual autonomy. Objection (2) holds against some but not all erotic material. Sexual enjoyment of pornography that depicts, or is produced by, suffering or degradation involves a way of seeing others that has implications for the user’s relationships with others, particularly sexual relationships. However, not all erotic material involves objectionable attitudes towards others. Thus partners should allow moderate use of some types of erotica in solo-masturbation. (shrink)

Born to secular Jewish parents and raised in Camden, New Jersey, Andrea Dworkin became a radical second-wave feminist. By Dworkin’s own account, her work is informed by a series of negative personal experiences, including sexual assault at age nine, again by doctors at the Women's House of Detention in New York in 1965, work as a prostitute, and marriage to a battering husband whom she left in 1971. While Dworkin self-identified as a lesbian, since 1974 she lived with a (...) gay male partner, writer John Stoltenberg, whom she married in 1998. Understandably, the main theme of Dworkin's work is male violence against women. This violence is a defining feature of our male-supremacist culture, in which rape, prostitution, and pornography are inevitable expressions of gender norms. Dworkin's writings are primarily aimed at social change rather than intellectualizing. She describes her first book as "a political action where revolution is the goal". What one finds in her writings is not so much philosophical theorizing as calls to action. Thus it is difficult to summarize the abstract theory to which she is committed and from which she draws arguments against the sexism she finds in our culture. What is clear is her desire to eliminate binary concepts of gender and their oppressive effects. In particular, Dworkin urges the destruction of a female gender role that involves masochism, self-hatred, and passivity. She sees male supremacy constructed and reinforced in our culture through the sexist structuring of public institutions and private interactions, locating three crucial foci of male supremacy in action: pornography, sexual intercourse, and rape. These are her central concerns. Her work includes seven monographs, three collections of essays and speeches, a memoir, two novels, and a book of short stories, all of which explore these themes. (shrink)

As noted by philosopher Robert Pasnau, “Our standard view of sound is incoherent” at best (Pasnau, 1999, p 309). A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights several inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and the listener (the ‘longitudinal compression waves in the (...) air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps entirely devoid of spatial characteristics (aspatial theory). Beyond these topographic ruminations on the location of sounds, more profound disagreements arise around what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc., with many subtle ontological variations springing up along the way. -/- The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds to the phenomenon of echoes, with some theories arguably faring better than others. The focus here will be on Casey O’Callaghan’s formulation of sounds as disturbance events that bind primary sounds and their echoes together as one (O’Callaghan, 2007a, pp 126-127). In short, the claim is that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s ‘Against the Primary Sound Account of Echoes,’ the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears considerably upon the workability of distal theories of sound in general (Fowler, 2013, p 466). -/- In this paper, I expand upon Fowler’s work by demonstrating additional instances where the PSAE fails to hold when subjected to increased scrutiny across a broader range of echo scenarios, presenting a significant issue for proponents of distal theories of sound. (shrink)