Perceptual modalities have been traditionally considered the product of dedicated biological systems producing information for higher cognitive processing. Psychological and neuropsychological evidence is offered which undermines this point of view and an alternative account of modality from the enactive approach to understanding cognition is suggested. Under this view, a perceptual modality is a stable form of perception which is structured not just by the biological sensitivities of the agent, but by their goals and the set of skills (...) or expertise which they are deploying at a given time. Such a view suggests that there is no such thing as an experience that is purely visual, auditory, or otherwise modal and that our attempts to understand consciousness and the mind must be conducted within a framework that provides an account of embodied, goal-directed adaptive coping with the world. (shrink)

Is the flavor of mint reducible to the minty smell, the taste, and the menthol-like coolness on the roof of one’s mouth, or does it include something over and above these—something not properly associated with any one of the contributing senses? More generally, are there features of perceptual experiences—so-called novel features—that are not associated with any of our senses taken singly? This question has received a lot of attention of late. Yet surprisingly little attention has been paid to the (...) question of what it means to say that a feature is associated with a sensory modality in the first place. Indeed, there is only one fully developed proposal in the literature, due to Casey O’Callaghan. I argue that this proposal is too permissive to inform the debate over novel features. I go on to argue that all attempts to formulate a better proposal along these lines fail. The corollary of my arguments is that the question of the existence of novel features is poorly formed. Furthermore, the problem generalizes, with the result that we should not rely on our pre-theoretical notions of the senses as the basis of theorizing about the features of perceptual experiences. (shrink)

Perception can provide us with a privileged source of evidence about the external world – evidence that makes it rational to believe things about the world. In Reasons First, Mark Schroeder offers a new view on how perception does so. The central motivation behind Schroeder’s account is to offer an answer to what evidence perception equips us with according to which it is what he calls world-implicating but non-factive, and thereby to glean some of the key advantages of both externalism (...) and internalism, respectively. He answers this motivation by developing a more specific view that he calls the Apparent Factive Attitude view, which pairs an answer to what evidence is provided by a perceptual experience with an answer to why having that perceptual experience provides you with that evidence. In this paper we advance two interconnected problems for Schroeder’s Apparent Factive Attitude view. A traditional intuitive judgment that often motivates internalists is the idea that internal duplicates must necessarily be equally rational in whatever beliefs they have. Schroeder’s arguments rely on a weaker claim - that people who are both internal and historical external duplicates but differ only in the veridicality of a single perceptual experience must be equally rational in whatever beliefs they have. In this way he preserves what he argues to be a more compelling internalist intuition. But our arguments will show that Schroeder’s view is committed to denying an even more compelling internalist intuition yet - that internal duplicates must have the same phenomenology. (shrink)

It is widely assumed that sense perception cannot deliver knowledge of nonactual (metaphysical) possibilities. We are not supposed to be able to know that a proposition p is necessary or that p is possible (if p is false) by sense perception. This paper aims to establish that the role of sense perception is not so limited. It argues that we can know lots of modal facts by perception. While the most straightforward examples concern possibility and contingency, others concern necessity and (...) impossibility. The possibility of a perceptual route to some modal knowledge is not as radical as it may at first sound. On the contrary, acknowledging it has benefits. (shrink)

Molyneux addressed his question to Locke in two forms. The question that is most often discussed in the literature is the 1693 version–about whether a newly sighted man could distinguish a globe and a cube when they are presented to his sight alone. But in 1688, he asked whether this man could know which was the globe. While Locke and Molyneux probably thought this an unnecessary add-on, we argue that it changes the question. Locke had no account of how one (...) could know a contingent singular fact by sight or by vision. We argue that we know in these ways by using a process of active sensory exploration that employs the modality in question. A new form of Molyneux’s question emerges from this understanding of perceptual knowledge. While the variety of sensory exploration methods within and across modalities raises considerable difficulties for a positive answer, the original question, like the later version, can ultimately be answered only by empirical investigation. (shrink)

When a user integrates a sensory substitution device into her life, the process involves perceptual learning, that is, ‘relatively long-lasting changes to an organism’s perceptual system that improve its ability to respond to its environment’ (Goldstone 1998: 585). In this paper, I explore ways in which the extensive literature on perceptual learning can be applied to help improve sensory substitution devices. I then use these findings to answer a philosophical question. Much of the philosophical debate surrounding sensory (...) substitution devices concerns what happens after perceptual learning occurs. In particular, should the resultant perceptual experience be classified in the substituted modality (as vision), in the substituting modality (as auditory or tactile), or in a new sense modality? I propose a novel empirical test to help resolve this philosophical debate. (shrink)

In this paper, I defend a new theory of the nature and individuation of perceptual capacities. I argue that we need a theory of perceptual capacities to explain modal facts about what sorts of perceptual phenomenal states one can be in. I defend my view by arguing for three adequacy constraints on a theory of perceptual capacities: perceptual capacities must be individuated at least partly in terms of their place in a hierarchy of capacities, where (...) these capacities include the senses themselves; an adequate account of perceptual capacities must be sensitive to empirical considerations; and an adequate account should accommodate the nature of the capacity to perceive. I arrive at these constraints by considering how Schellenberg’s view fails, before defending and developing my alternative in line with the constraints. I defend a view on which there are few, coarse-grained perceptual capacities which can fulfil complex explanatory roles because they are evaluatively gradable on many axes. Finally, on my view, perceptual capacities bear a particularly close relation to the sensory modalities themselves. (shrink)

Multisensory processing encompasses all of the various ways in which the presence of information in one sensory modality can adaptively influence the processing of information in a different modality. In Part I of this survey article, I begin by presenting a cartography of some of the more extensively investigated forms of multisensory processing, with a special focus on two distinct types of multisensory integration. I briefly discuss the conditions under which these different forms of multisensory processing occur as well as (...) their important perceptual consequences and interrelations. In Part II, I then turn to examining of some of the different possible ways in which the structure of conscious perceptual experience might also be characterized as multisensory. In addition, I discuss the significance of research on multisensory processing and multisensory consciousness for philosophical attempts to individuate the senses. (shrink)

The distinction between true belief and knowledge is one of the most fundamental in philosophy, and a remarkable effort has been dedicated to formulating the conditions on which true belief constitutes knowledge. For decades, much of this epistemological undertaking has been dominated by a single strategy, referred to here as the modal approach. Shared by many of the most widely influential constraints on knowledge, including the sensitivity, safety, and anti-luck/risk conditions, this approach rests on a key underlying assumption — the (...) modal profiles available to known and unknown beliefs are in some way asymmetrical. The first aim of this paper is to deconstruct this assumption, identifying its plausibility with the way in which epistemologists frequently conceptualize human perceptual systems as excluding certain varieties of close error under conditions conducive to knowledge acquisition. The second aim of this paper is to then argue that a neural phase phenomenon indicates that this conceptualization is quite likely mistaken. This argument builds on the previous introduction of this neural phase to the context of epistemology, expanding the use of neural phase cases beyond relatively narrow questions about epistemic luck to a much more expansive critique of the modal approach as a whole. (shrink)

Objective: Evidence suggests people experience an oral size illusion and commonly perceive oral size inaccurately; however, the nature of the illusion remains unclear. The objectives of the present study were to confirm the presence of an oral size illusion, determine the magnitude (amount) and direction (underestimation or overestimation) of the illusion, and determine whether immediately prior crossmodal perceptual experiences affected the magnitude and direction. Design: Participants (N = 27) orally assessed 9 sizes of stainless steel spheres (1/16 in to (...) 1/2 in) categorized as small, medium, or big, and matched them with digital and visual reference sets. Each participant completed 20 matching tasks in 3 assessments. For control assessments, 6 oral spheres were matched with reference sets of same-sized spheres. For primer-control assessments, similar to control, 6 matching tasks were preceded by cross-modal experiences of the same-sized sphere. For experimental assessments, 8 matching tasks were preceded by a cross-modal experience of a differently sized sphere. Results: For control assessments, small and medium spheres were consistently underestimated, and big spheres were consistently overestimated. For experimental assessments, magnitude and direction of the oral size illusion varied according to the size of the sphere used in the cross-modal experience. Conclusion: Results seemed to confirm an oral size illusion, but direction of the illusion depended on the size of the object. Immediately prior cross-modal experiences influenced magnitude and direction of the illusion, suggesting that aspects of oral perceptual experience are dependent upon factors outside of oral perceptual anatomy and the properties of the oral stimulus. (shrink)

Philosophical discussions on cognition (ranging from computational and representational approaches to the 4E fra-mework), on the one hand, and those on sound and auditory per-ception, on the other, have hitherto remained apart. In this paper, the author addresses the concept of “auditory cognition”. While committing to the conceptual analysis of the latter, the author in-troduces the discussion of modality-specif ic approaches. Since the contributions made so far in the domain of the philosophy of sound and auditory perception are prone to (...) favor computational-repre-sentational approaches —e.g., the perceptual coherence model (Méndez-Martínez, 2022)—, the exploration of 4E possibilities will lay down a series of questions aimed to encourage future developers from that viewpoint. In that sense, the author explores conceptual entailments and connections between the genealogy of theories within the philosophy of sound and auditory perception, and the hypothesis of the extended cognition (EX). (shrink)

During the last quarter of a century, a number of philosophers have become attracted to the idea that necessity can be analyzed in terms of a hyperintensional notion of essence. One challenge for proponents of this view is to give a plausible explanation of our modal knowledge. The goal of this paper is to develop a strategy for meeting this challenge. My approach rests on an account of modality that I developed in previous work, and which analyzes modal properties in (...) terms of the notion of a metaphysical law. I discuss what information about the metaphysical laws is required for modal knowledge. Moreover, I describe two ways in which we might be able to acquire this information. The first way employs inference to the best explanation. The metaphysical laws, including the essential truths, play a crucial role in causal and grounding explanations and we can gain knowledge of these laws by abductive inferences from facts of which we have perceptual or a priori knowledge. The second way of gaining information about the metaphysical laws rests on knowledge that is partly constitutive of competence with the concepts that are needed to express the relevant information. Finally, I consider how knowledge of the metaphysical laws can be used to establish modal claims, paying special attention to the much-discussed connection between conceiving and possibility. (shrink)

Proponents of enactivism should be interested in exploring what notion of action best captures the type of action-perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception, and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient (...) because it has no traction on socially dependent perceptions, which are essential to the role and significance of perception in our lives. Since the social dimension is a central desideratum in a theory of human perception, enactivism needs a notion that accounts for such an aspect. This article sketches the main features of the Wittgenstein-inspired notion of perceptual practices as the central notion to understand perception. Perception, I claim, is properly understood as woven into a type of social practices that includes food, dance, dress, music, etc. More specifically, perceptual practices are the enactment of culturally structured, normatively rich techniques of commerce of meaningful multi- and inter-modal perceptible material. I argue that perceptual practices explain three central features of socially dependent perception: attentional focus, aspects’ saliency, and modal-specific harmony-like relations. (shrink)

It has been widely assumed that we do not perceive dispositional properties. I argue that there are two ways of interpreting this assumption. On the first, extensional, interpretation whether we perceive dispositions depends on a complex set of metaphysical commitments. But if we interpret the claim in the second, intensional, way, then we have no reason to suppose that we do not perceive dispositional properties. The two most important and influential arguments to the contrary fail.

Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in other (...) class='Hi'>modalities. One might be surprised, however, that visual imagery often dominates perception in other modalities. This more controversial claim is motivated both by empirical data and by introspection. Some think of perception-perception visual dominance as epistemically good, holding that cases in which visual dominance misleads us (e.g. McGurk and rubber hand illusions) are cases in which the perceptual system resolves conflicts according to principles that are generally reliable. Here, we explore support for the more controversial claim that imagery-perception visual dominance is epistemically good. We suggest that, when the task is richly spatial, requiring for optimal performance the all-at-once identification of macro-spatial and allocentric properties (e.g. identifying the shape or location of a felt or heard object), the visual, whether perception or imagination, should dominate other modalities. Put another way, when identifying objects, one should go and look or, short of that, visually imagine candidate objects, and then follow the visual, even against conflicting perceptions from other modalities. For this broadly-typed category of of cognitive-perceptual task, vision does dominate and it should. (shrink)

This is the editors' Introduction to a special issue of the journal, Multisensory Research. European philosophers of the modern period found multisensory perception to be impossible because they thought that perceptual ideas are defined by how they are experienced. Under this conception, the individual modalities are determinables of ideas—just as colour is a determinable that embraces red and blue, so also the visual is a determinable that embraces colour and (visually experienced) shape. Since no idea is experienced as, (...) for example, both visual and auditory, there can be no such thing as audiovisual perception. This conception of modality is not directly contested, but a variety of perceptual phenomena are listed that could raise interesting questions if treated as multimodal in origin. (shrink)

Several of the most compelling anti-materialist arguments are motivated by the supposed existence of an unbridgeable epistemic gap between first-person subjective knowledge about one’s own conscious experience and third-personally acquired knowledge. The two with which this paper is concerned are Frank Jackson’s ‘knowledge argument’ and David Chalmers’s ‘modal argument’. The knowledge argument and the modal argument are often taken to function as ‘two sides of the same coin … in principle each succeeds on its own, but in practice they work (...) best in tandem’. This paper disagrees with the above claim, and argues that when considered together the knowledge argument and modal arguments illuminate each other’s weaknesses. These weaknesses become apparent when we acknowledge the epistemic richness of the cognitive aspect of perceptual experience, and question the epistemic role that any non-cognitive aspect might play. Closer examination of judgments about what it’s like to have a perceptual experience reveals fundamental problems with the knowledge argument, and when these problems are exposed, the two arguments can no longer ‘buttress each other where help is needed’. It becomes clear that neither is likely to succeed on its own, and when taken together both are destabilized. (shrink)

In this paper I lay the foundations for the construction of an affective quality space. I begin by outlining what quality spaces are, and how they have been constructed for sensory qualities across different perceptual modalities. I then turn to tackle four obstacles that an affective quality space might face that would make an affective quality space unfeasible. After showing these obstacles to be surmountable, I propose a number of conditions and methodological constraints that should be satisfied in (...) attempts to construct an affective quality space. Before concluding, I detail the high explanatory pay-off such a project promises. (shrink)

A precise overview of pediatric emergencies would require taxological considerations around the differences between strictly neurological factors, as modulated both via neuroanatomical differentiation in the context of normal vs. abnormal biological development, and underlying neurofunctional mechanisms, and the connection with such processes with the neuromodulated activation of digestive processes. Furthermore, an important distinction between nephrological considerations and urological considerations is necessary, more specifically, by focusing on the treatment of diseases affecting the kidneys and their ability to function in the first (...) case, and on the treatment of diseases affecting the urinary tract in the latter. In this paper, we will present a general overview of the most important aspects of each category, starting with the brief description of neurological emergencies as indicating a general (system-based vs. localized) deterioration of mental capacity, with added possible partial or full loss of cognitive capacities and/or impaired perceptual modalities and consciousness, with or without response to stimuli. (shrink)

A foundational assumption of contemporary cognitive science is that perceptual processing involves inferential transitions between representational states. However, it remains controversial whether accounts of this kind extend to modalities whose perceptual status is a matter of debate. In particular, it remains controversial whether we should attribute inferential mechanisms to the sensory processing underpinning (human) pain experiences. This paper argues that, contrary to recent proposals in the philosophy and science of pain, pain processing is not mediated by inferential (...) transitions. To this end, I show that standard motivations for inferentialism—including appeal to underdetermination, illusion, cue combination, cognitive penetration, perceptual constancy, and invariance—do not carry over to pain. Instead, I suggest that pain’s sensory processing may be better characterised as an idiosyncratic form of transduction, distinguishing it both from paradigmatic perceptual modalities and canonical transducers. (shrink)

Each of our sensory modalities—vision, touch, taste, etc.—works on a slightly different timescale, with differing temporal resolutions and processing lag. This raises the question of how, or indeed whether, these sensory streams are co-ordinated or ‘bound’ into a coherent multisensory experience of the perceptual ‘now’. In this paper I evaluate one account of how temporal binding is achieved: the temporal windows hypothesis, concluding that, in its simplest form, this hypothesis is inadequate to capture a variety of multisensory phenomena. (...) Rather, the evidence suggests the existence of a more complex temporal structure in which multiple overlapping windows support distinct functional mechanisms. To aid in the precise formulation of such views, I propose a taxonomy of temporal window types and their characteristics that in turn suggests promising avenues for future empirical and philosophical research. I conclude by examining some philosophical implications of multi-window models for the metaphysics of perception and perceptual experience more generally. (shrink)

This paper explores the use of perhaps the most ubiquitous phrase in time perception literature, i.e., ‘there is no sense organ for time’. I argue here that its usage often highlights several misguided notions about how we perceive time and thus creates a problem in studying it. In this commentary three such underlying notions are discussed which are often drawn as conclusions from the lack of a sensory system to perceive time. These are that time is generated or created separately (...) by the brain, that time perception is different from other kinds of perception and that the study of time is hampered by the lack of a dedicated sense organ. These notions are discussed and argued against. It is claimed that a sense organ for time is not possible, nor does this exclude time from our percepts in general. Moreover, rather than creating a problem, a lack of a sense organ for time offers an opportunity to theorize about our experiences across perceptual modalities and cognitive mechanisms. I conclude by suggesting an end to using this phrase and instead seeing mental time as existing across our experiences. (shrink)

This paper shows that direct-object perceptual verbs, such as "hear", "smell", "taste", "feel", and "see", share a collection of distinctive semantic behaviors with depictive verbs, among which are "draw'', "paint", "sketch", and "sculpt". What explains these behaviors in the case of depictives is that they are causative verbs, and have lexical decompositions that involve the creation of concrete artistic artifacts, such as pictures, paintings, and sculptures. For instance, "draw a dog" means "draw a picture of a dog", where the (...) latter occurrence of "draw" denotes a creative activity. While perceptual verbs are not obviously causatives, they have analogous decompositions involving noun phrases that denote modality-specific sense-objects, such as a sounds, smells, flavors, touches, and sights. Thus, "hear a trumpet" means "hear the sound of a trumpet", and the same holds, mutatis mutandis, for verbs denoting the other sensory modes. If we take this analogy at face value, our perceptual reports will commit us to a form of the sense-datum theory of perception. While the analogy can be resisted, resistance requires taking on unexpected commitments. (shrink)

On an ‘internalist’ picture, knowledge isn’t necessary for understanding the nature of perception and perceptual experience. This contrasts with the ‘knowledge first’ picture, according to which it’s essential to the nature of successful perceiving as a mental state that it’s a way of knowing. It’s often thought that naturalistic theorizing about the mind should adopt the internalist picture. However, I argue that a powerful, recently prominent framework for scientific study of the mind, ‘predictive processing,’ instead supports the knowledge first (...) picture. Under predictive processing, it’s intrinsic to successful perceiving that it’s a state with the kind of modal robustness that’s distinctive of knowledge, which gives us reason to think of successful perceiving along knowledge first lines. Furthermore, I argue that the predictive processing framework encourages us to conceptualize experiences which don’t amount to knowledge along knowledge first lines, as states which by their nature fall short of knowledge. (shrink)

Perception is the ultimate source of our knowledge about contingent facts. It is an extremely important philosophical development that starting in the last quarter of the twentieth century, philosophers have begun to change how they think of perception. The traditional view of perception focussed on sensory receptors; it has become clear, however, that perceptual systems radically transform the output of these receptors, yielding content concerning objects and events in the external world. Adequate understanding of this process requires that we (...) think of perception in new ways—how it operates, the differences among the modalities, and integration of content provided by the individual senses. Philosophers have developed new analytic tools, and opened themselves up to new ways of thinking about the relationship of perception to knowledge. The Oxford Handbook of the Philosophy of Perception is a collection of entries by leading researchers that reviews these new directions in philosophical thought. The Introduction to the Handbook reviews the history of the subject from its beginnings in ancient Greece to the nineteenth century, and the way that science and philosophy have together produced new conceptions during the last hundred years. It shows how the new thinking about perception has led to a complex web of theories. (shrink)

This chapter distinguishes between two kinds of ordinary multisensory experience that go beyond mere co-consciousness of features (e.g., the experience that results from concurrently hearing a sound in the hallway and seeing the cup on the table). In one case, a sensory experience in one modality creates a perceptual demonstrative to whose referent qualities are attributed in another sensory modality. For example, when you hear someone speak, auditory experience attributes audible qualities to a seen event, a person’s speaking motions. (...) The second kind of multisensory experience attributes features experienced in several sensory modalities to one and the same object via a process of amodal perceptual integration, i.e., integration that occurs separately from processing within the individual sensory modalities. Multisensory experiences arising from holding and seeing a tomato or from seeing the Indian curry boil and smelling it are examples of the second kind of multisensory experience. At the end of the chapter we look at synesthesia, a kind of atypical multisensory experience, and argue that one version of this phenomenon may be able to shed light on the neural mechanism underlying amodally integrated multisensory experience. (shrink)

It is arguably the case that olfactory system contains two senses that share the same type of stimuli, sensory transduction mechanism, and processing centers. Yet, orthonasal and retronasal olfaction differ in their types of perceptible objects as individuated by their sensory qualities. What will be explored in this paper is how the account of orthonasal smell developed in the Molecular Structure Theory of smell can be expanded for retronasal olfaction (Young, 2016, 2019a-b, 2020). By considering the object of olfactory perception (...) to be the molecular structure of chemical compounds composing odor plumes, Molecular Structure Theory provides a means for determining an odor’s olfactory quality, how odors can be identified and individuated, and how we perceive smellscapes. Surveying the differences between orthonasal and retronasal olfaction provides the basis for the central argument of the paper that the perceptible objects we refer to as smells and individuated on the basis of their olfactory qualities are only relative to orthonasal olfaction. Retronasal olfaction it is speculatively concluded might play an essential role in our perception of flavorful objects. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the (...) first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, (...) in the structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for. (shrink)

Block (Trends Cogn Sci 7:285–286, 2003) and Prinz (PSYCHE 12:1–19, 2006) have defended the idea that SSD perception remains in the substituting modality (auditory or tactile). Hurley and Noë (Biol Philos 18:131–168, 2003) instead argued that after substantial training with the device, the perceptual experience that the SSD user enjoys undergoes a change, switching from tactile/auditory to visual. This debate has unfolded in something like a stalemate where, I will argue, it has become difficult to determine whether the perception (...) acquired through the coupling with an SSD remains in the substituting or the substituted modality. Within this puzzling deadlock two new approaches have been recently suggested. Ward and Meijer (Conscious Cogn 19:492–500, 2010) describe SSD perception as visual-like but characterize it as a kind of artificially induced synaesthesia. Auvray et al. (Perception 36:416–430, 2007) and Auvray and Myin (Cogn Sci 33:1036–1058, 2009) suggest that SSDs let their users experience a new kind of perception. Deroy and Auvray (forthcoming) refine this position, and argue that this new kind of perception depends on pre-existing senses without entirely aligning with any of them. So, they have talked about perceptual experience in SSDs as going "beyond vision". In a similar vein, MacPherson (Oxford University Press, New York, 2011a) claims that “if the subjects (SSD users) have experiences with both vision-like and touch-like representational characteristics then perhaps they have a sense that ordinary humans do not” (MacPherson in Oxford University Press, New York, 2011a, p. 139). (shrink)

I offer an account of the experience of acting that demonstrates how agentive aspects of experience associated with the execution of intentions are richly integrated with perceptual aspects associated with parts of action taking place in the publicly observable world. On the view I elucidate, the experience of acting is often both an engagement with the world and a type of intimate acquaintance with it. In conscious action the agent consciously intervenes in the world and consciously experiences the world (...) she is changing. In section one, I discuss extant accounts of the experience of acting, noting deficiencies. In sections two and three, I develop my own account, drawing on Casey O’Callaghan’s work on multi-modal perception. In the conclusion, I discuss ramifications for psychology and philosophy. (shrink)

The aim of this paper is to argue that our experience of artworks is normally multimodal. It is the result of perceptual processing in more than one sense modality. In other words, multimodal experience of art is not the exception; it is the rule. I use the example of music in order to demonstrate the various ways in which the visual sense modality influences the auditory processing of music and conclude that this should make us look more closely at (...) our practices of engaging with artworks. (shrink)

There has been some recent optimism that addressing the question of how we distinguish sensory modalities will help us consider whether there are limits on a scientific understanding of perceptual states. For example, Block has suggested that the way we distinguish sensory modalities indicates that perceptual states have qualia which at least resist scientific characterization. At another extreme, Keeley argues that our common-sense way of distinguishing the senses in terms of qualitative properties is misguided, and offers (...) a scientific eliminativism about common-sense modalities which avoids appeal to qualitative properties altogether. I’ll argue contrary to Keeley that qualitative properties are necessary for distinguishing senses, and contrary to Block that our common-sense distinction doesn’t indicate that perceptual states have qualia. A non-qualitative characterization of perceptual states isn’t needed to avoid the potential limit on scientific understanding imposed by qualia. (shrink)

According to proponents of the sensorimotor contingency theory of perception (Hurley & Noë 2003, Noë 2004, O’Regan 2011), active control of camera movement is necessary for the emergence of distal attribution in tactile-visual sensory substitution (TVSS) because it enables the subject to acquire knowledge of the way stimulation in the substituting modality varies as a function of self-initiated, bodily action. This chapter, by contrast, approaches distal attribution as a solution to a causal inference problem faced by the subject’s perceptual (...) systems. Given all of the available endogenous and exogenous evidence available to those systems, what is the most probable source of stimulation in the substituting modality? From this perspective, active control over the camera’s movements matters for rather different reasons. Most importantly, it generates proprioceptive and efference-copy based information about the camera’s body-relative position necessary to make use of the spatial cues present in the stimulation that the subject receives for purposes of egocentric object localization. (shrink)

We can discern two opposing viewpoints regarding synesthesia. According to the first, it is an oddity, an outlier, or a disordered condition. According to the second, synesthesia is pervasive, driving creativity, metaphor, or language itself. Which is it? Ultimately, I favor the first perspective, according to which cross-sensory synesthesia is an outlying condition. But the second perspective is not wholly misguided. My discussion has three lessons. First, synesthesia is just one of a variety of effects in which one sense modality (...) causally impacts and reshapes experience associated with another. These effects are utterly common. However, due to their unfamiliarity, and to their conflict with a widespread conception of the role of the senses in perception and perceptual experience, until recently they have been surprising. Second, synesthesia nevertheless must be distinguished from other inter-modal effects that lead to misperception, such as crossmodal illusions. Third, synesthesia also may be distinguished from the potentially much broader class of synesthetic effects, which could be common across the population and within individuals. (shrink)

Our emotional states affect how we perceive the world. If I am stressed, annoyed, or irritated, I might experience the sound of children laughing and screaming as they play around the house in a negative manner — it is unpleasant, loud, piercing, and so on. Yet, if I’m in a relaxed, happy, loving mood, the very same sounds might be experienced as pleasant, playful, warm, and so on. The sounds being made by the children are the same in both cases, (...) but how they are experienced differs. The auditory experience is affected by the emotional state that I am in. I perceive the sounds differently depending on how I’m feeling. Although this might at first seem to be a trivial observation, it certainly is not. We take for granted that our perceptual experiences give rise to justified beliefs and knowledge. Thus, if my perceptual experience of an object can differ based on my emotional state, and I take my perceptual experience to justify my beliefs and even lead to knowledge, then we might have a problem. If emotions — which are not fixed and in large part uncontrolled — affect our ability to accurately perceive the world, then they may undermine the justified beliefs and knowledge gained on the basis of our perceptual experience of the world. My goal here is to explore this potential problem. -/- I consider how we might understand the effect that emotions have on the justification of our perceptual beliefs about the world, beliefs that we acquire from a variety of sensory modalities — audition, gustation olfaction, and so on. I take the problem to be associated with one of two forms of perceptual influence: penetration or multisensory integration. In any given perceptual moment there are multiple sensory modalities and mental states at play, each affecting the overall experience. Whether we understand the influence of emotion on perception as a form of non-perceptual penetration or a form of non-visual sensory perception of the inner body — interoception — the potential epistemological difficulties remain: how can we be said to acquire justified beliefs and knowledge on the basis of such influenced perceptual experience. As has been the norm, only the five exteroceptive senses of vision, audition, olfaction, taste and touch are typically discussed in the context of sensory perception. However, as I argue, there is strong reason to accept the claim that emotional experience is a form of interoception, and that interoception ought to be considered when discussing sensory perception. In this way, then, I propose that clarifying the role played by interoception in sense perception across modalities is necessary if we are to make progress on the epistemological problems at hand. (shrink)

Kant argued that the perceptual representations of space and time were templates for the perceived spatiotemporal ordering of objects, and common to all modalities. His idea is that these perceptual representations were specific to no modality, but prior to all—they are pre-modal, so to speak. In this paper, it is argued that active perception—purposeful interactive exploration of the environment by the senses—demands premodal representations of time and space.

Tradition contrasts “cold,” motivationally-inert, “standard” perception with “hot,” motivationally-potent, emotion and affect. Against this backdrop, it has recently been argued that perceptual experiences have another fundamental phenomenal aspect, beyond their sensory aspects–perception in all sense-modalities is (at least often) Intrinsically valenced. Roughly, its phenomenal character is inherently pleasant or unpleasant, feeling good or bad to some degree. Yet, the revolutionary notion of Intrinsically Valenced Perception (IVP) requires elucidation and is fraught with theoretical difficulties. The paper aims to explicate (...) and address some foundational questions regarding the very notion of IVP: What is required for perception to be intrinsically valenced? Specifically, if perception itself is valenced, what should be the relations between its valenced aspects and sensory aspects? The paper identifies the relevant notion of IVP by uncovering various principles that express constraints and desiderata that IVP must meet. It further offers a Determination-Dimension Model of the relations between sensory and valenced aspects that aims to resolve the previously identified theoretical difficulties. (shrink)

Assumption: Sensory modalities are individuated by their proper objects. Hearing is the direct perception of sounds, sight the direct perception of colours, etc. Objection: There is no single type of proper sensibles in the case of touch (temperature, solidity, hardness, humidity, texture, weight, vibration...). Answer : 1. accept to distinguish the sense of pressure (touch strictly speaking) from the sense of temperature. 2. argue that pressures are the direct perceptual objects through which one perceives weight, texture, solidity.

Recently, the relationship between evolutionary ecology and perceptual science has received renewed attention under perception-mediated selection, a mode of natural selection linking perceptual saliency, rather than veridicality, to fitness. The Interface Theory of Perception (ITP) has been especially prominent in claiming that an organism’s perceptual interface is populated by icons, which arise as a function of evolved, species-specific perceptual interfaces that produce approximations of organisms’ environments through fitness-tuned perceptions. According to perception-mediated selection, perception and behavior calibrate (...) one another as organisms’ capacities to experience and know the objects and properties of their environments lead to responses highlighting certain environmental features selected for survival. We argue this occurs via the Umwelt/Umgebung distinction in ethology, demonstrating that organisms interact with their external environments (Umgebung) through constructed perceptual schema (Umwelt) that produce constrained representations of environmental objects and their properties. Following Peircean semiotics, we claim that ITP’s focus on icons as saliency-simplified markers corresponds to biosemiotics’ understanding of perceptual representations, which manifest as iconic (resembling objects), indexical (referring), or symbolic (arbitrary) modalities, which provide for organisms’ semiotic scaffolding. We argue that ITP provides the computational evidence for biosemiotics’ notion of iconicity, while biosemiotics provides explanation within ITP for how iconicity can build up into indices and symbols. The common contention of these separate frameworks that the process of perception tracks saliency rather than veridicality suggests that digital/dyadic perceptual strategies will be outcompeted by their semiotic/triadic counterparts. This carries implications for evolutionary theory as well as theories of cognition. (shrink)

We often claim to know about what is good or bad, right or wrong. But how do we know such things? Both historically and today, answers to this question have most commonly been rationalist or sentimentalist in nature. Rationalists and sentimentalists clash over whether intellect or affect is the foundation of our evaluative knowledge. This paper is about the form that this dispute takes among those who agree that evaluative knowledge depends on perceptual-like evaluative experiences. Rationalist proponents of perceptualism (...) invoke intellectual experiences, while sentimentalist proponents invoke affective experiences. The goal of this paper is to offer a fresh strategy for adjudicating between intellectual and sentimental perceptualism. I argue that the perceptualist’s hand will be forced either in the direction of intellectual or sentimental perceptualism once she decides between two views about the modal status of our basic evaluative knowledge. I close with an argument that the more plausible of the two options is the one which fits best with sentimental perceptualism. The argument, then, is that perceptualists ought to be sentimentalists. (shrink)

Ordinary perceiving relies heavily on our sensing the spatial properties of objects, e.g., their shapes, sizes, and locations. Such spatial perception is central in everyday life. We safely cross a street by seeing and hearing the locations of oncoming vehicles. And we often identify objects by seeing and feeling their distinctive shapes. -/- To understand how we perceive spatial properties, we must explain the nature of the mental states figuring in spatial perception. The experience one has when seeing a cube, (...) e.g., differs from the experiences one has when seeing other shapes, e.g., spheres and pyramids. We must explain how such experiences differ to fully understand how we perceive differences in the spatial properties of objects. This presents a challenge often overlooked in philosophy and cognitive science. Whereas we can differentiate physical objects by their spatial properties, we cannot differentiate the experiences involved in perception in respect of their own spatial properties. Experiences are mental states, not physical objects, so they do not themselves have spatial properties; a visual experience of a 50 ft. tall cube, e.g., isn’t itself 50 ft. tall or cubical. So we must differentiate our perceptual experiences of those objects some other way, in terms of their own properties. -/- I argue the experiences figuring in spatial perception have mental properties distinct from, but analogous to, the spatial properties we perceive. The experience one has when seeing a square, e.g., has a property that resembles and differs from other such mental properties in ways parallel to the ways physical squares resemble and differ from other shapes. Just as squares are more similar to rectangles than triangles, the mental property of an experience of a square is more similar to that of an experience of a rectangle than that of an experience of a triangle. -/- I show how this theory helps solve several problems in philosophy and cognitive science; explaining change blindness, accounting for our ability to perceive combinations of distinct properties, e.g., color and shape, and determining whether the properties of experiences pertaining to the same spatial properties in different sensory modalities are themselves the same. (shrink)

The philosophy of perception has been mostly focused on vision, to the detriment of other modalities like audition or olfaction. In this paper I focus on olfaction and olfactory experience, and raise the following questions: is olfaction a perceptual-representational modality? If so, what does it represent? My goal in the paper is, firstly, to provide an affirmative answer to the first question, and secondly, to argue that olfaction represents odors in the form of olfactory objects, to which olfactory (...) qualities are attributed. In order to do this I develop an empirically adequate notion of olfactory object that is sensitive to the peculiarities of olfaction, and defend it against various objections. (shrink)

The condition of ‘genuine perceptual synaesthesia’ has been a focus of attention in research in psychology and neuroscience over the last decades. For subjects in this condition stimulation in one modality automatically and consistently over the subject’s lifespan triggers a percept in another modality. In hearing→colour synaesthesia, for example, a specific sound experience evokes a perception of a specific colour. In this paper, I discuss questions and challenges that the phenomenon of synaesthetic experience raises for theories of perceptual (...) experience in general, and for theories thatsee the content and modality of conscious experience as being constituted and determined by the active and skilful exploration of the environment in particular. The focus of my paper will be on the latter, ‘enactive’ view of perception and its theory of what determines the modality-specific ‘feel’ of a perceptual experience. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our (...) engagement with musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

Amodal completion is usually characterized as the representation of those parts of the perceived object that we get no sensory stimulation from. In the case of the visual sense modality, for example, amodal completion is the representation of occluded parts of objects we see. I argue that relationalism about perception, the view that perceptual experience is constituted by the relation to the perceived object, cannot give a coherent account of amodal completion. The relationalist has two options: construe the (...) class='Hi'>perceptual relation as the relation to the entire perceived object or as the relation to the unoccluded parts of the perceived object. I argue that neither of these options are viable. (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)

What kinds of mental states can be based on epistemic reasons? The standard answer is only beliefs. I argue that perceptual states can also be based on reasons, as the result of crossmodal interactions. A perceptual state from one modality can provide a reason on which an experience in another modality is based. My argument identifies key markers of the basing relation and locates them in the crossmodal Marimba Illusion (Schutz & Kubovy 2009). The subject’s auditory experience of (...) musical tone duration is based on the reason provided by her visual representation of the length of the musician’s gesture and other stored perceptual principles. (shrink)

This paper presents an account of the senses and what differentiates them that is compatible with richly multisensory perception and consciousness. According to this proposal, senses are ways of perceiving. Each sense is a subfaculty that comprises a collection of perceptual capacities. What each sense shares and what differentiates one sense from another is the manner in which those capacities are exercised. Each way of perceiving involves a distinct type of information gathering, individuated by the information it functions to (...) extract and the medium from which it does so. This approach distinguishes the project of characterizing and differentiating senses from that of attributing experiences to sensory modalities. Perceptual experiences are episodes in which perceptual capacities are exer- cised. Conscious perceptual episodes may be ascribed to distinct sensory modalities, according to the manners in which perceptual capacities are deployed on an occasion. According to this account, senses are not exclusive. First, their capacities may overlap. Second, perceptual episodes, including conscious experiences, may belong to multiple senses. Indeed, some episodes require the joint use of several senses. In this account, subjects have only limited first-person knowledge of the senses they employ. (shrink)

It is tempting to think that one’s perceptual evidence comprises just what issues from perceiving with each of the respective sensory modalities. However, empirical, rational, and phenomenological considerations show that one’s perceptual evidence can outstrip what one possesses due to perceiving with each separate sense. Some novel perceptual evidence stems from the coordinated use of multiple senses. This paper argues that some perceptual evidence in this respect is distinctively multisensory.