Philosophers and psychologists often assume that mirror reflections are optical illusions. According to many authors, what we see in a mirror appears to be behind it. I discuss two strategies to resist this piece of dogma. As I will show, the conviction that mirror reflections are illusions is rooted in a confused conception of the relations between location, direction, and visibility. This conception is unacceptable to those who take seriously the way in which mirrors contribute to our experience of the (...) world. My argument may be read as an advertisement of the neglected field of philosophical catoptrics, the philosophical study of the optical properties of mirrors. It enables us to recast familiar issues in the philosophy of perception. (shrink)

Relationalism maintains that perceptual experience involves, as part of its nature, a distinctive kind of conscious perceptual relation between a subject of experience and an object of experience. Together with the claim that perceptual experience is presentational, relationalism is widely believed to be a core aspect of the naive realist outlook on perception. This is a mistake. I argue that naive realism about perception can be upheld without a commitment to relationalism.

John Hyman insists that Frege-style cases for depiction show that any sound theory of depiction must distinguish between the ‘sense’ and the ‘reference’ of a picture. I argue that this rests on a mistake. Making sense of the cases does not require the distinction.

People can come to seem to us more beautiful the better we get to know their personalities. Some have taken this to show there is a moral kind of beauty. According to the moral beauty view, moral personality traits realise moral beauty in people. Here I present a problem for the standard articulation of the moral beauty view, namely that it is not a logical truth that people inherit the beauty of their virtues. I call this the ‘inheritance problem’. I (...) present an alternative articulation of the moral beauty view that does not give rise to the problem. On this alternative articulation, the moral beauty view is not as revisionary as it is standardly taken to be. (shrink)

Why did R.G. Collingwood come to reject the adversarial style of philosophical discussion so popular among his Oxford peers? The main aim of this paper is to explain that Collingwood came to reject his colleagues’ specific style of philosophical dialogue on methodological grounds, and to show how the argument against adversarial philosophical discussion is integrated with Collingwood’s overall criticism of realist philosophy. His argument exploits a connection between method and practice that should be taken seriously even today.

Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I will call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, (...) as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types. (shrink)

In arguing for his theory of pure reflective judgments of taste Kant extensively analyses beauty, but almost wholly disregards ugliness. We commonly take ugliness as paradigmatic when we reflect on our negative aesthetic judgments, and so does Kant. Consequently, there ought to be a more explicit story explaining how Kantian judgments of ugliness are possible. In this paper I argue that a disharmony is the key to understanding Kantian ugliness. This way, an answer to the question of ugliness in Kant (...) can be given in terms of a disharmonious free play of the faculties of imagination and understanding. (shrink)

At the intersection of aesthetics and the philosophy of perception lies a problem about representational images. When you look at Vermeer's View of Delft, do you in fact get to see Delft? It would be nice if we could answer in the affirmative, as it would so neatly explain many of our practices in engaging with images. Be it in churches, advertising, or psychology labs, we typically use images as substitutes for the immediate perception of things. Here is what I (...) claim: Images make it possible to see the objects they represent, and they do so because they can function in vision as perceptual mediators. A perceptual mediator is an object of perception by means of which we can perceive something wholly distinct from it. I show that, while such perceptual mediators may be exceptional in vision, in other sensory modalities they occur universally. Our sensory lives would be impoverished without the possibility of perceiving things mediately. In Chapter 1 I identify a fundamental dispute about images. The dispute is about whether images represent by making absent scenes appear to a viewer, or by merely copying the way an object or event looks. Many philosophers favour the idea that images merely copy how things look. In Chapter 2 I explain my dissatisfaction with the copy view. I lay out my main positive proposal in Chapter 3. How does the idea that images make absent objects visible fit with our current concept of perception? I formulate my answer through a study of the other sensory modalities. In audition, it is no mystery that sounds can make other things heard. My arguments forge a connection between images and sounds that has not been explored in recent work on representation or perception. I show how it offers an attractive solution to our problem. In Chapter 4, I argue that moreover, we may regard mediate perception as a purely sensory mode of perception. There is no need to rely on non-sensory or quasi-sensory effects of thought or cognition. Instead, coming to see a painted surface as an image consists in no more than discovering a previously unseen aspect of our visible surroundings. In Chapter 5 I consider at a more general level how visual images contribute to visual perception. Overall, I establish how visual representation has a structural place in our visual world. (shrink)