This paper offers a qualified defense of a historically popular view that I call sentimental perceptualism. At a first pass, sentimental perceptualism says that emotions play a role in grounding evaluative knowledge analogous to the role perceptions play in grounding empirical knowledge. Recently, András Szigeti and Michael Brady have independently developed an important set of objections to this theory. The objections have a common structure: they begin by conceding that emotions have some important epistemic role to play, but then go (...) on to argue that understanding how emotions play that role means that there must be some alternative, emotion-independent route to obtaining knowledge of value. If there has to be such an emotion-independent route, then the perceptual analogy breaks down in a significant way. In this paper, I argue that the right ways for sentimental perceptualists to respond to each of these objections are revealed by thinking through how analogous objections applied to perception and the empirical domain would be answered. Although Szigeti's and Brady's objections should not persuade sentimental perceptualists to give up their view, the objections do put important constraints on what a form of the view has to be like in order to do exciting metaethical work. (shrink)

The purpose of this paper is to present two kinds of analogical representational change, both occurring early in the analogy-making process, and then, using these two kinds of change, to present a model unifying one sort of analogy-making and categorization. The proposed unification rests on three key claims: (1) a certain type of rapid representational abstraction is crucial to making the relevant analogies (this is the first kind of representational change; a computer model is presented that demonstrates this (...) kind of abstraction), (2) rapid abstractions are induced by retrieval across large psychological distances, and (3) both categorizations and analogies supply understandings of perceptual input via construing, which is a proposed type of categorization (this is the second kind of representational change). It is construing that finalizes the unification. (shrink)

Expressions of emotion pose a serious challenge to the view that we perceive other people’s emotions directly. If we must perceive expressions in order to perceive emotions, then it is only ever the expressions that we are directly aware of, not emotions themselves. This paper develops a new response to this challenge by drawing an analogy between expressions of emotion and perceptual media. It is through illumination and sound, the paradigmatic examples of perceptual media, that we can (...) see and hear objects around us. Instead of screening these objects from view, however, they enable our perception while being transparent to us. With reference to perceptual constancy and transparency, I show how expressions show up in our experience of emotions in a surprisingly similar way. Given this, we can understand expressions as the media _through_ which we perceive emotions and overcome the above challenge to an otherwise attractive view. (shrink)

The purpose of this paper is to present two kinds of analogical representational change, both occurring early in the analogy-making process, and then, using these two kinds of change, to present a model unifying one sort of analogy-making and categorization. The proposed unification rests on three key claims: (1) a certain type of rapid representational abstraction is crucial to making the relevant analogies (this is the first kind of representational change; a computer model is presented that demonstrates this (...) kind of abstraction), (2) rapid abstractions are induced by retrieval across large psychological distances, and (3) both categorizations and analogies supply understandings of perceptual input via construing, which is a proposed type of categorization (this is the second kind of representational change). It is construing that finalizes the unification. (shrink)

This research paper aims to study analogy as a comparative thinking and to investigate whether it is justified in claiming that an analogical thought has cognitive content. Two theories in cognitive science claim that analogy has cognitive content. The first one is called the weak view of analogy in cognition, e.g. the works of Gust et al. (2008), Lakoff & Johnson (1980), Hesse (1950), Black (1955); and the second one is called the strong view of analogy (...) in cognition, e.g. the works of Hofstadter (2001), Hofstadter& Sanders (2013). According to the weak view, analogical thought is only a necessary condition of cognition. But for the strong view, analogy is both necessary and sufficient of cognition. Regardless of the differences, both theories are not justified in claiming analogical content. While the weak view cannot provide an account of the perceptual aspect of content, the strong view suffers from the lack of normative constraint for analogical content. -/- Keywords: analogy, comparative thinking, concept, cognitive content, philosophy of cognitive science . (shrink)

This chapter states the contrast between presumptivism about testimonial warrant (often called anti-reductionism) and strict reductionism (associated with Hume) about testimonial warrant. Presumptivism sees an analogy with modest foundationalism about perceptual warrant. Strict reductionism denies this analogy. Two theoretical frameworks for these positions are introduced to better formulate the most popular version of persumptivism, a competence reliabilist account. Seven arguments against presumptivism are then stated and critiqued: (1) The argument from reliability; (2) The argument from reasons; (3) (...) the argument from positive reasons; (4) the argument from negative reasons; (5) the argument from agency; (6) the argument from psychological force; and (7) the argument from gullibility. If presumptivm is false, it is not for any of these arguments. (shrink)

The historically-influential perceptual analogy states that intuitions and perceptual experiences are alike in many important respects. Phenomenalists defend a particular reading of this analogy according to which intuitions and perceptual experiences share a common phenomenal character. The phenomenalist thesis has proven highly influential in recent years. However, insufficient attention has been given to the challenges that the phenomenalist thesis raises for theories of intuitions. In this paper, I first develop one such challenge. I argue that (...) if we take seriously the idea that intuitions and perceptual experiences have a common phenomenal character, then an analogous version of the familiar problem of perceptual presence arises for intuitions. I call this the 'problem of intuitive presence'. In the second part of the paper I sketch a novel enactivist solution to this problem. (shrink)

In Emotions, Values & Agency, Christine Tappolet develops a sophisticated, perceptual theory of emotions and their role in wide range of issues in value theory and epistemology. In this paper, we raise three worries about Tappolet's proposal.

Several philosophers think there are important analogies between emotions and perceptual states. Furthermore, considerations about the rational assessibility of emotions have led philosophers—in some cases, the very same philosophers—to think that the content of emotions must be propositional content. If one finds it plausible that perceptual states have propositional contents, then there is no obvious tension between these views. However, this view of perception has recently been attacked by philosophers who hold that the content of perception is object-like. (...) I shall argue for a view about the content of emotions and perceptual states which will enable us to hold both that emotional content is analogous to perceptual content and that both emotions and perceptual states can have propositional contents. This will involve arguing for a pluralist view of perceptual content, on which perceptual states can have both contents which are proposition-like and contents which are object-like. I shall also address two significant objections to the claim that emotions can have proposition-like contents. Meeting one of these objections will involve taking on a further commitment: the pluralist account of perceptual content will have to be one on which the contents of perception can be non-conceptual. (shrink)

This article responds to two arguments against ‘Epistemic Perceptualism’, the view that emotional experiences, as involving a perception of value, can constitute reasons for evaluative belief. It first provides a basic account of emotional experience, and then introduces concepts relevant to the epistemology of emotional experience, such as the nature of a reason for belief, non-inferentiality, and prima facie vs. conclusive reasons, which allow for the clarification of Epistemic Perceptualism in terms of the Perceptual Justificatory View. It then challenges (...) two arguments which purport to show that emotional experience is not a source of reasons for evaluative belief. The first argument claims that because normative why-questions are always appropriate in the case of emotions, then emotions can never be conclusive reasons for corresponding evaluative beliefs. The second purports to show that appeal to emotional experience as a source of reasons for evaluative beliefs renders emotions problematically self-justifying, and since emotions cannot be self-justifying, they cannot provide any sort of reason for corresponding evaluative beliefs. This article responds to these arguments, and in doing so shows there is still much to be learned about the epistemology of emotional experience by drawing analogies with perceptual experience. (shrink)

Evaluative concepts and emotions appear closely connected. According to a prominent account, this relation can be expressed by propositions of the form ‘something is admirable if and only if feeling admiration is appropriate in response to it’. The first section discusses various interpretations of such ‘Value-Emotion Equivalences’, for example the Fitting Attitude Analysis, and it offers a plausible way to read them. The main virtue of the proposed way to read them is that it is well-supported by a promising account (...) of emotions, namely the Perceptual Theory of Emotions, which emphasises the analogies between emotions and sensory perceptual experiences. The second section considers a worry about whether concepts such as admirable are really evaluative. It is maintained that even though the arguments used to show that thick terms and concepts are not inherently evaluative can be transposed to affective concepts, these arguments can be resisted. So there is no need to abandon the intuitive claim that affective concepts are inherently evaluative. (shrink)

A novel solution is offered for how emotional experiences can function as sources of immediate prima facie justification for evaluative beliefs, and in such a way that suffices to halt a justificatory regress. Key to this solution is the recognition of two distinct kinds of emotional skill (what I call generative emotional skill and doxastic emotional skill) and how these must be working in tandem when emotional experience plays such a justificatory role. The paper has two main parts, the first (...) negative and the second positive. The negative part criticises the epistemic credentials of Epistemic Perceptualism (e.g., Tappolet 2012, 2016; Doring 2003, 2007; Elgin 2008; Roberts 2003), the view that emotional experience alone suffices to prima facie justify evaluative beliefs in a way that is analogous to how perceptual experience justifies our beliefs about the external world. The second part of the paper develops an account of emotional skill and uses this account to frame a revisionary form of Epistemic Perceptualism that succeeds where the traditional views could not. I conclude by considering some objections and replies. (shrink)

Perceptualists maintain that emotions essentially involve perceptual experiences of value. This view pressures advocates to individuate emotion types (e.g. anger, fear) by their respective evaluative contents. This paper explores the Attitudinalist Challenge to perceptualism. According to the challenge, everyday ways of talking and thinking about emotions conflict with the thesis that emotions are individuated by, or even have, evaluative content; the attitudinalist proposes instead that emotions are evaluative at the level of attitude. Faced with this challenge, perceptualists should deepen (...) their analogy with sensory experience; they should distinguish types of emotions by their content much as we can plausibly distinguish types of sensory experience (e.g. visual, auditory) by theirs. A second lesson is that perceptualists should distinguish an emotion’s representational guise (uniform across emotions) from its formal object (which varies). (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)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

Many philosophers hold that if an agent acts intentionally, she must know what she is doing. Although the scholarly consensus for many years was to reject the thesis in light of presumed counterexamples by Donald Davidson, several scholars have recently argued that attention to aspectual distinctions and the practical nature of this knowledge shows that these counterexamples fail. In this paper I defend a new objection against the thesis, one modelled after Timothy Williamson’s anti-luminosity argument. Since this argument relies on (...) general principles about the nature of knowledge rather than on intuitions about fringe cases, the recent responses that have been given to defuse the force of Davidson’s objection are silent against it. Moreover, the argument suggests that even weaker theses connecting practical entities with knowledge are also false. Recent defenders of the thesis that there is a necessary connection between knowledge and intentional action are motivated by the insight that this connection is non-accidental. I close with a positive proposal to account for the non-accidentality of this link without appeal to necessary connections by drawing an extended analogy between practical and perceptual knowledge. (shrink)

This makes three main interpretative points about the progression from perception to universals described in 'Posterior Analytics' II.19: (1) The noun "'aisthesis'" as used in the chapter may refer not to the act of perceiving but to perceptual contents retained in memory. (2) An 'empeiria' (experience) should be understood as a capacity to generate expectations about new members of an unconceptualized kind based on memories of other members of the kind. (3) The famous rout analogy is a metaphor (...) for the perfection of such a capacity into a concept that can underwrite demonstrative knowledge (rather than mere expectation). (shrink)

According to a historically popular view, emotions are normative experiences that ground moral knowledge much as perceptual experiences ground empirical knowledge. Given the analogy it draws between emotion and perception, sentimental perceptualism constitutes a promising, naturalist-friendly alternative to classical rationalist accounts of moral knowledge. In this paper, we consider an important but underappreciated objection to the view, namely that in contrast with perception, emotions depend for their occurrence on prior representational states, with the result that emotions cannot give (...) perceptual-like access to normative properties. We argue that underlying this objection are several specific problems, rooted in the different types of mental states to which emotions may respond, that the sentimental perceptualist must tackle for her view to be successful. We argue, moreover, that the problems can be answered by filling out the theory with several independently motivated yet highly controversial commitments, which we carefully catalogue. The plausibility of sentimental perceptualism, as a result, hinges on further claims sentimental perceptualists should not ignore. (shrink)

According to the quasi-perceptualist account of philosophical intuitions, they are intellectual appearances that are psychologically and epistemically analogous to perceptual appearances. Moral intuitions share the key characteristics of other intuitions, but can also have a distinctive phenomenology and motivational role. This paper develops the Humean claim that the shared and distinctive features of substantive moral intuitions are best explained by their being constituted by moral emotions. This is supported by an independently plausible non-Humean, quasi-perceptualist theory of emotion, according to (...) which the phenomenal feel of emotions is crucial for their intentional content. (shrink)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains controversial (...) in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

It seems plausible that visual experiences of darkness have perceptual phenomenal content that clearly differentiates them from absences of visual experiences. I argue, relying on psychological results concerning auditory attention, that the analogous claim is true about auditory experiences of silence. More specifically, I propose that experiences of silence present empty spatial directions like ‘right’ or ‘left’, and so have egocentric spatial content. Furthermore, I claim that such content is genuinely auditory and phenomenal in the sense that one can, (...) in principle, recognize that one is experiencing silence. This position is far from obvious, as the majority of theories concerning silence perception do not ascribe perceptual phenomenal content to experiences of silence. (shrink)

In this paper, I argue that the method of cases (namely, the method of using intuitive judgments elicited by intuition pumps as evidence for and/or against philosophical theories) is not a reliable method of generating evidence for and/or against philosophical theories. In other words, the method of cases is unlikely to generate accurate judgments more often than not. This is so because, if perception and intuition are analogous in epistemically relevant respects, then using intuition pumps to elicit intuitive judgments is (...) like using illusions to elicit perceptual judgments. In both cases, judgments are made under bad epistemic circumstances. (shrink)

In this paper I assume that we have some intuitive knowledge—i.e. beliefs that amount to knowledge because they are based on intuitions. The question I take up is this: given that some intuition makes a belief based on it amount to knowledge, in virtue of what does it do so? We can ask a similar question about perception. That is: given that some perception makes a belief based on it amount to knowledge, in virtue of what does it do so? (...) A natural idea about perception is that a perception makes a belief amount to knowledge in part by making you sensorily aware of the concrete objects it is about. The analogous idea about intuition is that an intuition makes a belief amount to knowledge in part by making you intellectually aware of the abstract objects it is about. I expand both ideas into fuller accounts of perceptual and intuitive knowledge, explain the main challenge to this sort of account of intuitive knowledge (i.e. the challenge of making sense of intellectual awareness), and develop a response to it. (shrink)

This chapter will consider three themes relating to the significance of intuitions in contemporary philosophy. In §1, I’ll review and explore the relationship between philosophical use of words like ‘intuitively’ and any kinds of mental states that might be called ‘intuitions’. In §2, I’ll consider the widely-discussed analogy between intuitive experience and perceptual experience, drawing out some interesting similarities and differences. Finally, in §3, I’ll introduce the recent movement of ‘experimental philosophy’, and consider to what extent its projects (...) are tied up with questions about the role of intuitions in philosophy. My primary aim will be to survey and explain; I will make no effort, however, to hide the fact that I’m a philosopher and a partisan to some of these debates. So there will be some arguments for controversial points of view, too—hopefully these will be easily perceptible, and my opponents fairly represented. Limitations of space demand a rather superficial treatment of most of our topics; endnotes will direct the reader to more comprehensive discussions. (shrink)

It is well known in contemporary Madhyamaka studies that the seventh century Indian philosopher Candrakīrti rejects the foundationalist Abhidharma epistemology. The question that is still open to debate is: Does Candrakīrti offer any alternative Madhyamaka epistemology? One possible way of addressing this question is to find out what Candrakīrti says about the nature of buddha’s epistemic processes. We know that Candrakīrti has made some puzzling remarks on that score. On the one hand, he claims buddha is the pramāṇabhūta-puruṣa (person of (...) epistemic and moral authority), sarvākārajñatājñānaṃ (omniscient, wise), pratyakṣalakṣaṇam (exclusively perceptual in characteristic) [Candrakīrti (MABh VI.214)], and claims that there are clearly four pramāṇas—epistemic warrants—direct perception (pratyakṣa), inference (anumāna), testimony (āgama) and analogy (upamāna) [Candrakīrti (Pp I.3), cf. MacDonald 2015, pp. 287–288]. On the other hand, somewhat paradoxically, Candrakīrti claims that buddhahood is an embodiment of a complete cessation of “mind and mental processes” [Candrakīrti (MABh XI.1, 155a; MAB XI.17d)] Now how are we to make sense of these two seemingly contradictory statements? Do these statements reflect any deeper conflicts within Candrakīrti’s system or is there a coherent way to interpret these statements? The Tibetan Prāsaṅgika interpreters of Candrakīrti’s Madhyamaka largely agree that there is no internal contradiction in Candrakīrti’s system, and agree there is a way to make coherent sense of these statements. Nevertheless, the Tibetans exegetes bring to the table two radically conflicting proposals to approach Candrakīrti’s Mādhyamaka; both claiming to successfully address the apparent tension arising from Candrakīrti’s statements. One proposal is made by Tsongkhapa Losang Dakpa (Tsong kha pa bLo bzang grags pa, 1357–1419), who maintains the tension can be plausibly resolved by demonstrating that Candrakīrti’s unique non-foundationalist epistemological program renders him an epistemological coherentist. In contrast Taktsang Lotsawa Sherap Rinchen (sTag tshang Lo tsā ba Shes rab rin chen, 1405–1477) argues that according to Candrakīrti buddha is a global agnostic, on the ground of the nonexistence of mind and mental processes for those who have attained fully awakening. Taktsang instead proposes the no-mind thesis as a more plausible way to resolve the tension in Candrakīrti’s philosophy, categorically refusing to attribute to buddha any cognitive processes and epistemic warrants. This paper is an analysis of Taktsang’s no-mind thesis—the claim that buddhas utterly lack any knowledge of the world because they do not have epistemic processes and warrants to perceive the world—in what follows a rational reconstruction of his arguments is developed in order to evaluate his thesis. We shall then assess the implications of accepting Taktsang’s no-mind thesis. (shrink)

In a recent Opinion article, Sui and Humphreys [1] argue that experimental findings suggest self is ‘special’, in that self-reference serves a binding function within human cognitive economy. Contrasting their view with other functionalist positions, chiefly Dennett's [2], they deny that self is a convenient fiction and adduce findings to show that a ‘core self representation’ serves as an ‘integrative glue’ helping to bind distinct types of information as well as distinct stages of psycho- logical processing. In other words, where (...) Dennett regards self as analogous to a center of gravity, a simplification posited by observers, Sui and Humphreys regard self as a function that modulates mental processes. In practice, however, the concept of ‘self’ they employ is not unlike Dennett's. We side with Sui and Humphreys in hold- ing that self-reference modulates mental processes: reference to self during a task can bind memory to source, increase perceptual integration, and link attention to decision making, among other things. What is more, these functions are not reducible to other factors such as semantic coding, familiarity, or reward [3]. But whereas Sui and Humphreys contribute important empirical detail, the binding functions they describe are compatible with Dennett's version of functionalism, which treats self as an artifact of social process. (shrink)

Plantinga famously argues against evidentialism that belief in God can be properly basic. But the epistemology of cognitive faculties such as perception and memory which produce psychologically non-inferential beliefs shows that various inferentially justified theoretical beliefs are epistemically prior to our memory and perceptual beliefs, preventing the latter from being epistemically basic. Plantinga's analogy between the sensus divinitatis and these cognitive faculties suggests that the deliverances of the sensus divinitatis cannot be properly basic either. Objections by and on (...) behalf of Plantinga to this argument are considered. (shrink)

Moral (or ethical) sensitivity is widely viewed as a foundational learning goal in engineering ethics education. We have argued in this paper is that this view of moral sensitivity cannot be readily transported from the nursing context to the engineering context on the basis of a care-analogy. The particularized care characteristic of the nursing context is decisively different from the generalized and universalized forms of care characteristic of the engineering context. Through a focus on care and maintenance, the engineering (...) student’s moral sensitivity can be refined, opening up a perceptual awakening and affectivity towards the complex nature of the engineer’s Other. This awakening is in part promoted through an understanding of the ideology of neutrality as a moment in the history engineering. Becoming aware of this ideology as an ideology can then be seen as an activity of dividing loyalties that allows for a reflexive and critical view of the biases and presuppositions inherited within the world of engineering. This process of deepening the engineering student’s moral sensitivity is perhaps as much a process of the student becoming aware of her professional world, how it shapes her understanding of herself, and what it means to be a good engineer. (shrink)

Abstract This chapter addresses the meta-ethical and psychological implications of Murdoch’s epistemic internalism—her claim that moral responsiveness is a condition of reliable and accurate moral evaluations. Part 1 examines Murdoch’s view that moral judgments feature a quasi-experiential phenomenology analogous to that of certain perceptual ones. Focussing on the phenomenology of our perception-based judgments of certain aspectual properties (e.g., pictorial and musical ones) it argues that such judgments support both Murdoch’s analogy and the internalism she takes it to imply. (...) In Part 2 this chapter considers Murdoch’s internalism as a psychological thesis, assessing it in view of several empirical studies of psychopathic subjects. It argues that the psychopath’s distinctive complex of cognitive and motivational deficits supports Murdoch’s conviction that moral judgment and moral motivation are interdependent. Just as Murdoch believed, many of our ordinary, non-pathological moral beliefs seem to be the natural progeny of our responsiveness to other persons, and so inherit the intrinsic power that others have to move us. (shrink)

Reductionism about testimony holds that testimonial warrant or entitlement is just a species of inductive warrant. Anti-Reductionism holds that it is different from inductive but analogous to perceptual or memorial warrant. Perception receives much of its positive epistemic status from being reliably truthconducive in normal conditions. One reason to reject the epistemic analogy is that testimony involves agency – it goes through the will of the speaker – but perception does not. A speaker might always choose to lie (...) or otherwise deliberately mislead. It is argued that the force of this derives (in part) from Libertarianism about agency, and that Libertarianism, if it undermines the Anti-Reductionist explanation of why we are entitled to rely upon testimony, undermines the Reductionist explanation as.. (shrink)

It is common in philosophy for philosophers to consult their intuitions regarding philosophical issues, and then use those intuitions as evidence for their arguments. For instance, an incompatibilist about moral responsibility might argue that her position is correct because it is intuitive that, given a deterministic world, people cannot be morally responsible. One might ask whether or not the philosopher is justified in using intuitions in her argument, but it seems that in order to answer this, we require an understanding (...) of what intuitions are. One characterisation of intuitions is that they are either ordinary beliefs, beliefs with particular aetiologies, or inclinations to believe. An alternative view is that intuitions are unique, sui generis mental states, unique in the sense that they cannot be fully understood in terms of other mental states. In this essay, I defend the belief view of intuitions. I argue that intuitions are inclinations to believe, which are derived from unconscious reasoning processes which take our background beliefs and theories as input. I defend this view against Elijah Chudnoff’s claim that intuitions are sui generis mental states akin to perceptual experiences. I suggest that the analogy Chudnoff draws between perceptions and intuitions does not hold, because perceptions are belief independent, while intuitions are not. I then respond to Chudnoff’s counter-example to the belief view, which is that it is possible to have an intuition but no corresponding belief or inclination to believe. I formulate an error theory which demonstrates that it is possible to confuse the rejection of an intuition as part of our consciously derived beliefs, with the elimination of an intuition as part of our unconsciously derived beliefs. Such confusion, I suggest, leads to Chudnoff’s putative counter-example that it is possible to have an intuition and yet no inclination to believe in it. (shrink)

Williamson (2000) argues that the KK principle is inconsistent with knowledge of margin for error in cases of inexact perceptual observations. This paper argues, primarily by analogy to a different scenario, that Williamson’s argument is fallacious. Margin for error principles describe the agent’s knowledge as a result of an inexact perceptual event, not the agent’s knowledge state in general. Therefore, epistemic agents can use their knowledge of margin for error at most once after a perceptual event, (...) but not more. This insight blocks a crucial step in Williamson’s original argument. Along the way, the value of standard epistemic logic for analyzing margin for error reasoning is challenged. (shrink)

According to the cognitivist strategy, the desire to bring about P provides reasons for intending to bring about P in a way analogous to how perceiving that P provides reasons for believing that P. However, while perceiving P provides reasons for believing P by representing P as true, desiring to bring about P provides reasons for intending to bring about P by representing P as good. This paper offers an argument against this view. My argument proceeds via an appeal to (...) what I call the non-substitutability of perception, the thesis that, given that there is no independent evidence for P, one cannot substitute something that fails to provide reasons with respect to P for the perceptual experience that P, without altering the rational permissibility of believing that P. By contrast, I argue that it is always possible to substitute something that fails to provide reasons for a desire without altering the rational permissibility of an intention based on said desire. I take this to show that a desire does not provide reasons in a way analogous to perceptual experience. (shrink)

Daniel Whiting has argued, in this journal, that Mark Schroeder’s analysis of knowledge in terms of subjectively and objectively sufficient reasons for belief makes wrong predictions in fake barn cases. Schroeder has replied that this problem may be avoided if one adopts a suitable account of perceptual reasons. I argue that Schroeder’s reply fails to deal with the general worry underlying Whiting’s purported counterexample, because one can construct analogous potential counterexamples that do not involve perceptual reasons at all. (...) Nevertheless, I claim that it is possible to overcome Whiting’s objection, by showing that it rests on an inadequate characterization of how defeat works in the examples in question. (shrink)

This chapter addresses the application of contemporary theories of the imagination—largely drawn from cognitive psychology—to our understanding of film. Topics include the role of the imagination in our learning what facts hold within a fictional film, including what characters’ motivations, beliefs, and feelings are; how our perceptual experience of a film explains our imaginative visualizing of its contents; how fictional scenarios in films generate certain affective and evaluative responses; and how such responses compare to those we have toward analogous (...) circumstances in real life. (shrink)

A common understanding of the role of a game developer includes establishing (or at least partially establishing) what is interactively and perceptually available in (video)game environments: what elements and behaviors those worlds include and allow, and what is – instead – left out of their ‘possibility horizon’. The term ‘possibility horizon’ references the Ancient Greek origin of the term ‘horizon’, ὄρος (oros), which denotes a frontier – a spatial limit. On this etymological foundation, ‘horizon’ is used here to indicate the (...) spatial and operational boundaries that a (video)game environment affords its players. This book chapter discusses a particular feeling that emerge in relation to playful encounters with the ‘possibility horizons’ of videogames. I am referring here to the realization, as a player, that a game environment can be experientially exhausted and is, as such, ultimately banal. In other words, I will examine how our deliberate engagement with the interactive environments of digital games can trigger sensations that are analogous to what Romantic authors referred to as Weltschmerz (‘world-weariness’). (shrink)

ABSTRACT I propose a middle-ground between a perceptual model of self-knowledge, according to which the objects of self-awareness are accessed through some kind of causal mechanism, and a rationalist model, according to which self-knowledge is constituted by one's rational agency. Through an analogy with the role of the exercises of sensorimotor abilities in rationally grounded perceptual knowledge, self-knowledge is construed as an exercise of action-oriented and action-orienting abilities. This view satisfies the privileged access condition usually associated with (...) self-knowledge without entailing an insurmountable gap between self- knowledge and knowledge of other minds. RESUMO Proponho um meio-termo entre um modelo perceptual de autoconhecimento, segundo o qual os objetos de autoconhecimento são acessadas mediante um tipo de mecanismo causal, e um modelo racionalista, segundo o qual o autoconhecimento é constituído pela agência racional. Por analogia ao papel que o exercício de habilidades sensório-motoras desempenham no conhecimento perceptual racionalmente fundado, autoconhecimento é entendido como um exercício de habilidades que são orientadas pela e orientam a ação. Essa imagem satisfaz a condição de acesso privilegiado que geralmente é associada ao autoconhecimento sem implicar uma lacuna intransponível entre autoconhecimento e conhecimento de outras mentes. (shrink)

Stumpf’s doctrine of the categories is of great importance for our understanding of his philosophy. This theme had been widely discussed among German thinkers after Kant; Brentano himself had repeatedly dealt with it since his early works. However, Stumpf considerably diverges from Brentano on this crucial philosophical topic. Although a systematic discussion can be found only in Stumpf’s posthumous Erkenntnislehre, his core ideas on the categories can be traced to his early work on space of 1873. In fact, Stumpf claims (...) that the peculiar relationship between extension and color is analogous to the relationship that holds between substance and accidents. Thus, like any other category, substance empirically stems from perception. Sensory experience, for Stumpf, is made up of perceptual wholes, whose attributes are typically bound to each other, rather than separately given in bundles, as Hume and other associationists used to assume. Thus, the achievements of Stumpf’s holist psychology effectively contributes a solution to this classic metaphysical problem. (shrink)

Many people claim to have had direct perceptual awareness of God. William Alston, Richard Swinburne, Gary Gutting, and others have based their philosophical views on these reports. But using analogies from our encounters with humans whose abilities surpass our own, we realize that something essential is missing from these reports. The absence of this element renders it highly unlikely that these people have actually encountered a divine being. (Published Online August 11 2004).

My aim in this paper is to consider a series of arguments against Dispositional Moral Realism and argue that these objections are unsuccessful. I will consider arguments that try to either establish a dis-analogy between moral properties and secondary qualities or try to show that a dispositional account of moral properties fails to account for what a defensible species of moral realism must account for. I also consider criticisms from Simon Blackburn, who argues that there could not be a (...) corresponding perceptual faculty for moral properties, and David Enoch, who argues that Dispositional Moral Realism does not most plausibly explain the difference between moral disagreements and disagreements of mere preference. Finally, I examine a novel criticism concerning the relationship between the diverse variety of moral properties and the range of our normative affective attitudes, arguing that the view has no problem accounting for this diversity. (shrink)

The paper compares the ideas developed by Bozzi and Stumpf with regard to unity, identity, and causality. Although Bozzi’s formulation is independent from the one made by Stumpf in his Erkenntnislehre, these two positions share the same innovative importance granted to perceptual experience and to the problem of the origin of categories. Thus, despite different levels of awareness and formalization, in both authors we see the features of what we can call – analogous- ly to Bozzi’s naïve physics – (...) a “naïve metaphysics”, at whose core lie the refusal of intellectualism, and the determination of the origin of categories in the concrete stream of perception. (shrink)

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

In this paper, I put forward an argument for the view that emotional responses of esteem to perceived demonstrations of good character represent the perceived character traits as valuable, and hence, as virtues. These esteeming experiences are analogous to perceptual representations in other modalities in their epistemic role as causing, providing content for and justifying beliefs regarding the value of the traits they represent. I also discuss the role that the perceiver’s own character plays in their ability to recognize (...) and respond appropriately to virtue in others, showing that moral virtues are also epistemic virtues when it comes to facilitating knowledge about the character of people we encounter. (shrink)

Human beings seem to capture time and the temporal properties of events and things in thought by having beliefs usually expressed with statements using tense, or notions such as ‘now’, ‘past’ or ‘future’. Tensed beliefs like these seem indispensable for correct reasoning and timely action. For instance, my belief that my root canal is over seems inexpressible with a statement that does not use tense or a temporal indexical. However, the dominant view on the nature of time is that it (...) forms, with space, a four-dimensional continuum where time does not encompass private perspectives or an absolute, fixed present. This ‘tenseless’ theory of time encounters a challenge in integrating tensed belief, because it cannot easily explain what constitutes a tensed belief in a tenseless world and how such a belief works inside our cognitive network to bring about the actions it does. Providing such an account is the main goal of this dissertation. -/- I argue here that the correct way to proceed would be to utilize philosophical theories dealing with indexicality, as the puzzling features of tensed belief are shared with beliefs expressed by first-person or spatial indexicals. In chapters II and III I expand the dominant theories about indexicality (Lewis, Perry, Kaplan) and apply them to tensed belief. I show that each is in certain respects incomplete or inadequate. -/- My preferred account critiques the preceding theories as mis-attributing the indexicality involved to a fully conceptual element in the way people think about time. I argue that we should instead connect tensed belief to not fully conceptual elements thought. For support I turn to work in perceptual psychology that connects beliefs about space to perceptions of spatial features. In chapter IV I develop an analogous argument about temporal thought and discuss how mental representations involved in perceptions are constitutively related to the formation and preservation of tensed beliefs. Combining this story with a tenseless theory of time should give us a complete, metaphysically uncontroversial, account of the way a tensed belief functions in reasoning and produces timely action. (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)

Abstract -- Most research reviews are concerned with empirical findings. This one takes astrological concepts and principles, the ideas on which astrology is based, and submits them to critical evaluation. It covers recent shifts in astrological ideas, how astrologers avoid dealing with criticism, and the problems associated with (in turn) the fundamental assumptions of astrology, the origins of astrological ideas, modern psychological astrology, astrological world views, astrological symbolism, non-falsifiability, and magical influences. To be plausible astrology needs sound ideas with sound (...) origins, and sound methods for verifying those ideas. But none of the possible origins of astrological ideas (revelation, paranormal, analogy, observation, theory) are plausible. Astrologers can explain away wrong chart interpretations by blaming the symbolism, inadvertently left out factors (such as an asteroid) method, data, the astrologer or the client. They can also dismiss the interpretation as misguided (it used to be visible events, now it is invisible inner meaning). So astrologers could never know if astrology was wrong or which of their explanatory theories could actually apply. Central ideas such as "as above so below" and "inter-connectedness" and the "whole chart" are too poorly developed to amount to anything useful. There is little agreement on many basic issues and on how to resolve differences among astrological techniques and ideas. Astrological symbolism is unsystematic and based on metaphors, analogies, verbal associations, word play, and mythology, which are developed in different ways by different astrologers with no clear way of evaluating them. The philosophies and worldviews associated with astrology are underdeveloped or poorly described. Consequently astrology does not have the resources to put its house in order. Astrology seems quite unlikely to deliver anything beyond what non-astrological factors (eg cognitive and perceptual biases) can account for. With copious quotes from leading astrologers and nearly 250 references. (shrink)

Alexander of Aphrodisias picks up Aristotle’s insufficient treatment of simultaneous perception and develops an adequate solution for the problem, thereby offering an account of the unity of perceptual consciousness—the single mental activity of a single subject with complex content. I show the adequacy of the solution by using as criteria the requirements that have been identified by Aristotle and approved (and explained) by Alexander. I analyze Alexander’s solution in two turns. First, with respect to heterogeneous perceptibles, Alexander adopts and (...) reformulates Aristotle’s metaphorical account invoking the analogy with a point. Second, with respect to homogeneous opposites, accordingly, perception is judgement, but it involves physical changes in diverse parts of the primary sense-organ. By this account Alexander resolves the issue of the unity of the subject on the level of the capacity of the soul, and coordinates the complexity of content with the complexity on the physical level. In addition to being adequate, the solution is faithful to Aristotle. I suggest that the interpretative decisions Alexander makes (the clarification of the analogy; the reference he finds to the analogy; the two components of the solution, judgement and parts of the organ) form an ingenious extension of Aristotle’s treatment. Interestingly, even though many elements in Alexander’s interpretation are taken up by modern commentators, no one has followed it in its entirety, nor even treated it in its own right. (shrink)

Perception provides us with access to the external world, but that access is shaped by our own experiential histories. Through perceptual learning, we can enhance our capacities for perceptual discrimination, categorization, and attention to salient properties. We can also encode harmful biases and stereotypes. This article reviews interdisciplinary research on perceptual learning, with an emphasis on the implications for our rational and normative theorizing. Perceptual learning raises the possibility that our inquiries into topics such as epistemic (...) justification, aesthetic criticism, and moral knowledge should include not only an examination of cognition but also of perception. (shrink)

What is the epistemic significance of taking a veridical perceptual experience at face value? To first approximations, the Minimal View says that it is true belief, and the Maximal View says that it is knowledge. I sympathetically explore the prospects of the Maximal View.