Very often, objects in the scene before us are somehow perceived to be constant or uniform or unchanging in color, shape, size, or position, even while their appearance with respect to these features somehow changes. This is a familiar and pervasive fact about perception, even if it is notoriously difficult to describe accurately let alone adequately account for. These difficulties are not unrelated—how we are inclined to describ the phenomenology of perceptual constancy will affect how we are inclined to accoun (...) for it. (shrink)

I defend and develop a traditional view in the metaphysics of sound, The Wave Theory of Sound. According The Wave Theory, as developed herein, sounds are not patterned disturbances so much as their propagation. And the propagation of a patterned disturbance is not a form of travel, but a dynamic in-formation, the wave-form successively inhering in diferently located parts of the dense and elastic medium. This conception, along with the assumption that we hear not only sounds but their sources, has (...) the resources to address many of the most recent criticisms of this traditional view. (shrink)

Review of part one of Ronald Dworkin's Justice for Hedgehogs.

A puzzle about the presentation of objects located at a distance is seen to animate Aristotle's account of transparency in De Anima and De Sensu.

Mark Eli Kalderon presents an original study of perception, taking as its starting point a puzzle in Empedocles' theory of vision: if perception is a mode of material assimilation, how can we perceive colors at a distance? Kalderon argues that the theory of perception offered by Aristotle in answer to the puzzle is both attractive and defensible.

In his 1904 letter to G.F. Stout, Cook Wilson distinguishes objective and sub- jective conceptions of appearance, and provides a diagnosis for the modern acceptance of the subjective conception in terms of a confused misdescrip- tion of the objective appearances that perceptual experience affords. More- over, Cook Wilson links subjective appearances with idealism, the suggestion being that perceptual appearances must be objective if they are to afford us with something akin to proof of a world without the mind.

We begin with a puzzle about how to intelligibly combine the active and passive elements of perception. For counsel, we turn to Augustine’s account of perception in De trinitate. Augustine’s trinitarian account of perception o ers an attractive resolution of our puzzle. Augustine’s resolution of our puzzle cannot, however, be straightforwardly adopted. It must be adapted. We end with an exploration of how this might be done.

Sight is a capacity, and seeing is its exercise. Reflection on the sense in which sight is for the sake of seeing reveals distinct relations of dependence between sight and seeing, the capacity and its exercise. Moreover, these relations of dependence in turn reveal the nature of our perceptual capacities and their exercise. Specifically, if sight is for the sake of seeing, then sight will depend, in a certain sense, upon seeing, in a manner inconsistent with experiential monism. Thus reflection (...) on the power of perception forms the basis of an argument for experiential pluralism. (shrink)

An aporia posed by Theophrastus prompts Priscian to describe the process by which perception formally assimilates to its object as a progressive perfection. I present an interpretation of Priscian’s account of perception’s progressive perfection. And I consider a dilemma for the general class of accounts to which Priscian’s belongs based on related problems raised by Plotinus and Aquinas.

We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not (...) present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them. (shrink)

Augustine is commonly interpreted as endorsing an extramission theory of perception in De quantitate animae. A close examination of the text shows, in- stead, that he is committed to its rejection. I end with some remarks about what it takes for an account of perception to be an extramission theory and with a review of the strength of evidence for attributing the extramission the- ory to Augustine on the basis of his other works.

A reply to Todd Ganson’s “Was Aristotle a Naïve Realist”, a talk for a conference in Gothenburg Sweden 12-14 June 2015 entitled The Mechanisms of Sense Perception in Aristotle and the Aristotelian Tradition.

This is a book about the metaphysics of perception and discusses touch, audition, and vision. Though primarily concerned with the nature of perception, it draws heavily from the history of philosophy of perception, and connects the concerns of analytical and continental philosophers.

I give an account of sensory presentation, an indispensable and irreducible element of perceptual experience, in terms of the principle of sympathy. Haptic touch, audition, and vision are compared.

The present essay examines and critically discusses Paul Benacerraf's antiplatonist argument of "What Numbers Could Not Be." In the course of defending platonism against Benacerraf's semantic skepticism, I develop a novel platonist analysis of the content of arithmetic on the basis of which the necessary existence of the natural numbers and the nature of numerical reference are explained.