The chapter outlines an abstract theoretical framework that is currently (re-)emerging in the course of a theoretical convergence of several disciplines. In the first section, the fundamental problem of perception theory is formulated, namely, the generation, by the perceptual system, of meaningful categories from physicogeometric energy patterns. In the second section, it deals with basic intuitions and assumptions underlying what can be regarded as the current Standard Model of Perceptual Psychology and points out why this model is profoundly (...) inadequate for dealing with the fundamental problem of perception theory. In the third section, it discusses a level of analysis that promises to be fruitful for dealing, in conformity with established procedures of the natural sciences, with the problem of perceptual “meaning” and the problem of what constitutes a “perceptual object.” In the fourth section, it outlines a theoretical perspective on basic principles of the perceptual system which centers on the notions of complex data types and conceptual forms, and draws an entirely different theoretical picture of the role of the sensory input than traditional accounts. The final section focusses on the issue of material qualities and discusses, within the general theoretical framework outlined, some observations and results on the perception of certain material properties, namely, lustrous and glassy appearances. (shrink)

In this chapter, data concerning the development of principal aspects of vision is reviewed. First, the development of colour vision and luminance perception is discussed. Relevant data accumulated so far indicates that perception of colour and luminance is present by 6-9 months of age. The presence of typical color illusions at this age suggests that the phenomenal character of color experience is comparable to that of adults well before the first birthday. Thus it seems plausible that color perception develops on (...) the grounds of genetically preprogrammed maturation, in which perceptual learning and plasticity play a limited role. This claim also seems to be supported by case studies of newly sighted patients. On the other hand, perceptual integration of edges and forms in the visual environment as well as the development of binocular vision, and the perception of ambiguous figures seem to depend crucially on early perceptual learning. Both developmental and clinical data indicate a more significant involvement of perceptual learning in such mid-level and higher level perceptual phenomena. (shrink)

Arguably one of the most fundamental phase shifts that occurred in the intellectual history of Western culture involved the ontological reduction of secondary qualities to primary qualities. To say the least, this reduction worked to undermine the foundations undergirding Aristotelian thought in support of a scientific view of the world based strictly on an examination of the real—primary— qualities of things. In this essay, I identify the so-called “Causal Argument” for a reductive view of secondary qualities (...) and seek to deflect this challenge by deriving some plausible consequences that support a non-reductive view of secondary qualities from an Aristotelian view (via the philosophical commentary of Thomas Aquinas). Specifically, my argument has two facets. First, I show that Aristotle’s view both implies recognition of the extramental existence of secondary qualities and is a prima facia natural view to take regarding the ontology of secondary qualities. Second, I show that the Causal Argument, which is thought to undermine a natural view of secondary qualities as real things, loses its bite when one examines perception in light the ontological relationship among the categories of quality, quantity and substance. (shrink)

I use an old challenge to motivate a new view. The old challenge is due to variation in our perceptions of secondary qualities. The challenge is to say whose perceptions are accurate. The new view is about how we manage to perceive secondary qualities, and thus manage to perceive them accurately or inaccurately. I call it perceptual structuralism. I first introduce the challenge and point out drawbacks with traditional responses. I spend the rest of the paper motivating (...) and defending a structuralist response. While I focus on color, both the challenge and the view generalize to the other secondary qualities. (shrink)

This chapter presents the perceptual reality monitoring theory of consciousness (PRM). PRM is a higher-order theory of consciousness. It holds that consciousness involves monitoring the reliability of one’s own sensory signals. I explain how a perceptual reality monitoring mechanism computes the higher order representations that are crucial for consciousness. While PRM accounts for the difference between conscious and unconscious states, it does not explain, on its own, why experiences feel the way they do—the phenomenal character of experience. PRM (...) is compatible with multiple theories of phenomenal character. Here, I show how to combine it with ‘Mental Quality Space’ theory. I finish by presenting empirical evidence for PRM, as well as some of its predictions. (shrink)

The laws and principles which predict how perceptual qualities can be extracted from the most elementary visual signals were discovered by the Gestalt psychologists(e.g., Wertheimer,1923; Metzger,1930, translated and re-editedbySpillmann in 2009 and2012, respectively). Their seminal work has inspired visual science ever since, andhas led to exciting discoveries which have confirmed the Gestalt idea that the human brain would have an astonishing capacity for selecting and combining critical visual signals to generate output representations for decision making and action. This (...) capacity of selection and integration enables the perception of form and space, and the correct estimation of relative positions, trajectories, and distances of objects represented in planar images. This paper addresses problems of perceptual organization with critical implications for visual interfaces, and the design of surgical simulator platforms in particular. (shrink)

There is variation in how people perceive colors and other secondary qualities. The challenge of perceptual variation is to say whose perceptions are accurate. According to Sextus, Protagoras’ response is that all of our perceptions might be accurate. As this response is traditionally developed, it is difficult to explain color illusion and color constancy. This difficulty is due to a widespread assumption called perceptual atomism. This chapter argues that, if we want to develop Protagoras’ response, we need (...) to give up perceptual atomism. It ends with a brief sketch of an alternative called perceptual structuralism. (shrink)

Sense experience, naïvely conceived, is a way of knowing perceptible properties: the colors, sounds, smells, flavors, and textures in our perceptual environment. So conceived, ordinary experience presents the perceiver with the essential nature of a property like Sky Blue or Middle C, such that how the property appears in experience is identical to how it essentially is. In antiquity, as today, it was controversial whether sense experience could meet the conditions for knowledge implicit in this naïve conception. Aristotle was (...) a partisan in this debate, but his position is poorly understood. This dissertation examines how Aristotle’s perceptual psychology responds to ancient challenges to the naïve conception, and so articulates his defense of perceptual knowledge. -/- Aristotle’s defense relies on an ontology of “perceptual qualities"—a core class of perceptible properties—according to which those qualities, despite having a perceiver-independent essence rooted in the physics of causation and affection, nevertheless can be present in experience as they essentially are. Chapter 1 defends this realist and objectivist reading against competing interpretations, which overlook a crucial distinction between perceptual qualities and perceptual objects. Chapter 2 presents Aristotle’s ontology as a physicalism that uncharacteristically allows for perceptual qualities to appear in experience as they essentially are. -/- This ontology informs Aristotle’s account of the psychological conditions under which perceivers actually are presented with the essence of perceptual qualities. The locus of this account is an obscure passage where Aristotle purports to show that the senses “discriminate” perceptual qualities because the senses are “mean states” (An. 2.11, 424a5–7). Chapter 3 develops a comprehensive interpretation of the sensory mean state, which Chapter 4 uses to elucidate Aristotle’s argument for sensory discrimination. Sensory discrimination turns out to be a process in which the essence of a perceptual quality comes to be present in the affection it produces in a perceiver. For Aristotle, this shows that sense perception meets a condition for knowledge that his predecessors, including Plato, thought it could not meet. For in his view, but not in theirs, sense experience shares in both the truth and the essence of the qualities it perceives. (shrink)

Conscious experiences are characterized by mental qualities, such as those involved in seeing red, feeling pain, or smelling cinnamon. The standard framework for modeling mental qualities represents them via points in geometrical spaces, where distances between points inversely correspond to degrees of phenomenal similarity. This paper argues that the standard framework is structurally inadequate and develops a new framework that is more powerful and flexible. The core problem for the standard framework is that it cannot capture precision structure: (...) for example, consider the phenomenal contrast between seeing an object as crimson in foveal vision versus merely as red in peripheral vision. The solution I favor is to model mental qualities using regions, rather than points. I explain how this seemingly simple formal innovation not only provides a natural way of modeling precision, but also yields a variety of further theoretical fruits: it enables us to formulate novel hypotheses about the space and structures of mental qualities, formally differentiate two dimensions of phenomenal similarity, generate a quantitative model of the phenomenal sorites, and define a measure of discriminatory grain. A noteworthy consequence is that the structure of the mental qualities of conscious experiences is fundamentally different from the structure of the perceptible qualities of external objects. (shrink)

The consensus in contemporary philosophy of mind is that how a perceptual experience represents the world to be is built into its sensory phenomenology. I defend an opposing view which I call ‘moderate separatism’, that an experience's sensory phenomenology does not determine how it represents the world to be. I argue for moderate separatism by pointing to two ordinary experiences which instantiate the same sensory phenomenology but differ with regard to their intentional content. Two experiences of an object reflected (...) in a mirror can possess the same spatial phenomenology while representing that object to occupy different spatial locations. So, contrary to the current consensus, the representation of spatial location is not fixed by an experience's sensory phenomenology. (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)

I distinguish between two claims of transparency of experiences. One claim is weaker and supported by phenomenological evidence. This I call the transparency datum. Introspection of standard perceptual experiences as well as bodily sensations is consistent with, indeed supported by, the transparency datum. I formulate a stronger transparency thesis that is entailed by representationalism about experiential phenomenology. I point out some empirical consequences of strong transparency in the context of representationalism. I argue that pain experiences, as well as some (...) other similar experiences like itches, tickles, orgasms, hedonic valence, etc., are not transparent in this strong sense. Hence they constitute empirical counterexamples to representationalism. Given that representationalism is a general metaphysical doctrine about all experiential phenomenology for good reasons, I conclude that representationalism about phenomenal consciousness is false. Then, I outline a general framework about how the introspection of phenomenal qualities in perceptual experience works in light of the transparency datum, but consistent with the rejection of strong transparency. The result is a form of qualia realism that is naturalist and intentionalist, and has close affinities to the adverbialist views developed in the latter part of the last century. I then apply this framework to pain experiences and their bodily locations. (shrink)

This article presents an argument for the view that we can perceive temporal features without awareness. Evidence for this claim comes from recent empirical work on selective visual attention. An interpretation of selective attention as a mechanism that processes high-level perceptual features is offered and defended against one particular objection. In conclusion, time perception likely has an unconscious dimension and temporal mental qualities can be instantiated without ever being conscious.

In this paper, a criticism of representationalist views of consciousness is developed. These views are often supported by an appeal to a transparency thesis about conscious states, according to which an experience does not itself possess the qualities of which it makes one conscious. The experience makes one conscious of these qualities by representing them, not by instantiating them. Against this, it is argued that some of the properties of which one is conscious are had by the conscious (...) state itself. Only by adopting this view can we account for certain perceptual incompatibilities, such as the fact that one cannot see a stick as being both bent and not bent. This sort of experience is impossible because it would require that an experience have, and not just represent, incompatible features. [Presented at the APA Eastern Div mtg in NY in 2005]. (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)

Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...) Any weak degree of clarity, available to the senses, can be merely subjective, since what it presents as true may not actually be true. But complete clarity, available to intellectual perception, has an objective dimension, since what it presents as true is always some truth, some bit of reality. Further, I argue that the other perceptual qualities that Descartes identifies — obscurity, confusion, and distinctness — are all defined in terms of clarity. Of particular note is the fact that distinctness is not a positive feature to be added to clarity: a distinct perception is just a completely clear perception. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human brain has an (...) astonishing capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

According to the inferential view of language comprehension, we hear a speaker’s utterance and infer what was said, drawing on our competence in the syntax and semantics of the language together with background information. On the alternative perceptual view, fluent speakers have a non-inferential capacity to perceive the content of speech. On this view, when we hear a speaker’s utterance, the experience confers some degree of justification on our beliefs about what was said in the absence of defeaters. So, (...) in the absence of defeaters, we can come to know what was said merely on the basis of hearing the utterance. Several arguments have been offered against a pure perceptual view of language comprehension, among others, arguments pointing to its alleged difficulties accounting for homophones and the context-sensitivity of ordinary language. After responding to the arguments against the perceptual view of language comprehension, I provide a new argument in favor of the perceptual view by looking closer at the dependence of the justificatory qualities of experience on the notion of a defeater as well as the perceptual nature of language learning and language processing. (shrink)

Conscious experiences involve subjective qualities, such as colours, sounds, smells and emotions. In this Perspective, we argue that these subjective qualities can be understood in terms of their similarity to other experiences. This account highlights the role of memory in conscious experience, even for simple percepts. How an experience feels depends on implicit memory of the relationships between different perceptual representations within the brain. With more complex experiences such as emotions, explicit memories are also recruited. We draw (...) inspiration from work in machine learning as well as the cognitive neuroscience of learning and decision making to make our case and discuss how the account could be tested in future experiments. The resulting findings might help to reveal the functions of subjective experience and inform current theoretical debates on consciousness. (shrink)

How can we understand our human world, embedded as it is within the physical universe, in such a way that justice is done to both the richness, meaning and value of human life on the one hand, and what modern science tells us about the physical universe on the other hand? I argue that, in order to solve this problem, we need to see physics as being concerned only with a highly selected aspect of reality – that aspect which determines (...) how events unfold – the causally efficacious aspect. Physics cannot describe the experiential, and if it is extended so that it does so, physical theory would cease to be explanatory. The human world can, however, be understood in terms of a different kind of explanation, which I call “personalistic”. This is not reducible to physical explanation. The world is, in short, riddled with what may be called “double comprehensibility”. (shrink)

It is commonly the case that sound, epistemological principles such as basic beliefs immediately become regarded as invalid when applied to theistic contexts. I will show that despite this, there is a strong sense of comparability between beliefs in God with beliefs in non-theistic beings and other commonly-held basic beliefs such as qualities of love and trust. To establish that both the belief in the existence of God and the existence of other beings and non-perceptual qualities are (...) justified as evidence in the same way, I will have to establish that they are both what Plantinga calls properly basic beliefs. I will argue that this comparability makes it equally justifiable for the belief in God’s existence in itself to be basic, in the same way that it is with other commonly-held beliefs. This argument does however require strong grounds to prove its viability, so I will be examining and critiquing the arguments which allude to a contradiction of this conclusion. By carefully examining these arguments, I will ultimately attempt to provide further justification for Plantinga’s claim that the mere belief in God is sufficient to be regarded as evident to the self, without needing to be justified through logical arguments. (shrink)

In consciousness science, several promising approaches have been developed for how to represent conscious experience in terms of mathematical spaces and structures. What is missing, however, is an explicit definition of what a 'mathematical structure of conscious experience' is. Here, we propose such a definition. This definition provides a link between the abstract formal entities of mathematics and the concreta of conscious experience; it complements recent approaches that study quality spaces, qualia spaces or phenomenal spaces; it provides a general method (...) to identify and investigate structures of conscious experience; and it may serve as a framework to unify the various approaches from different fields. We hope that ultimately this work provides a basis for developing a common formal language to study consciousness. (shrink)

Taking perceptual experience to consist in a relation of acquaintance with the sensible qualities, I argue that the state of being acquainted with a sensible quality is intrinsically a form of knowledge, and not merely a means to more familiar kinds of knowledge, such as propositional or dispositional knowledge. We should accept the epistemic claim for its explanatory power and theoretical usefulness. That acquaintance is knowledge best explains the intuitive epistemic appeal of ‘Edenic’ counterfactuals involving unmediated perceptual (...) contact with reality (cf. Chalmers, in: Gendler, Hawthorne (eds) Perceptual experience, Oxford University Press, 2006). It explains the elusiveness of knowledge gained through new acquaintances. It coheres with the knowledge-like functional role of acquaintance in the special context of evaluative beliefs and evaluative reasoning, where the objects of acquaintance serve as evidence and inferential basis. And, finally, taking acquaintance to be knowledge is theoretically fruitful: it helps vindicate claims about the relationship between knowledge and concern for others we already find intuitive or outright accept. After developing a novel case for the epistemic claim, I respond to two familiar objections against it: namely, (1) that there are no pre-propositional, pre-conceptual cases of perceptual experience that remain epistemically relevant (Sellars in Empiricism and the philosophy of mind, Routledge, 1968, McDowell, in: Lindgard (ed) John McDowell: Experience, norm, and nature, Blackwell, 2008); and (2) that the category of knowledge appears gerrymandered once we add ‘object’ knowledge to the epistemological mix (Farkas, in: Knowles, Raleigh (eds), Acquaintance: new essays, Oxford University Press, 2019). (shrink)

According to unconscious perception hypothesis (UP), mental states of the same fundamental kind as ordinary conscious seeing can occur unconsciously. The proponents of UP often support it with empirical evidence for a more specific hypothesis, according to which colours can be seen unconsciously (UPC). However, UPC is a general claim that admits of many interpretations. The main aim of this paper is to determine which of them is the most plausible. To this end, I investigate how adopting various conceptions of (...) colour and perceptual phenomenal character affects UPC’s resilience to objections. This brings me to the conclusion that the most plausible reading of UPC is the one according to which the phenomenal character of colour perception (i) is constituted by colours qua primitive mind-independent qualities of the environment and (ii) is not essentially tied to consciousness. My conclusion not only identifies the most plausible interpretation of UPC, but also highlights and supports an unorthodox version of the relational theory of perception, which is a perfectly viable yet so far overlooked stance in the debate about unconscious perception. (shrink)

According to Smell Objectivism, the smells we perceive in olfactory experience are objective and independent of perceivers, their experiences, and their perceptual systems. Variations in how things smell to different perceivers or in different contexts raise a challenge to this view. In this paper, I offer an objectivist account of non-illusory contextual variation: cases where the same thing smells different in different contexts of perception and there is no good reason to appeal to misperception. My central example is that (...) of dihydromyrcenol, a substance that can smell both woody and citrusy depending on what other odourants one has recently been exposed to. I first argue that the subjects’ apparently conflicting reports about the way dihydromyrcenol smells are best understood as comparative characterisations of a smell. Given this understanding, different reports can be correctly made in response to perceiving the very same smell. I then argue that the phenomenal difference between the experiences subjects have across contexts can be explained compatibly with Smell Objectivism. On the account proposed, subjects perceive the very same smell but different qualities, notes, or aspects of it are salient to them, depending on the context of perception. I then consider how the proposed defence of Smell Objectivism can be adapted to other cases where the same thing is reported as smelling different in different contexts. (shrink)

In An Inquiry into the Human Mind and in Essays on Intellectual Powers, Thomas Reid discusses what kinds of things perceivers are related to in perception. Are these things qualities of bodies, the bodies themselves, or both? This question places him in a long tradition of philosophers concerned with understanding how human perception works in connecting us with the external world. It is still an open question in the philosophy of perception whether the human perceptual system is providing (...) us with representations as of bodies, or only as of their properties. My project in this article is to explain how, on Reid's view, we can have perceptual representations as of bodies. This, in turn, enables him to argue that we have a robust understanding of the world around us, an understanding that would be missing if our perceptual system only supplied us with representations as of free-floating properties of bodies. (shrink)

This article is a response to the paradoxical nature of Moore's views on sense perception. By arguing that Moore's later stance on the objective world (that there are both mind-dependent and mind-independent features) requires a causal theory of perception, this article suggests that Moore lacks the epistemic justification needed to make assertions about the nature of mind-independent matter. Instead, the idealistic reply proposed in this article is to first dissolve Moore's distinction between mind-dependent and mind-independent features of the world, and (...) to then argue that shape, colour and other such qualities are known only in virtue of their similar perceptual (mind-dependent) origins. This article further diverges from Moore by concluding that objects are not mind-independent at all, but always indebted to various acts of cognitive construction. (shrink)

Many people have recently argued that we need to distinguish between experiences and seemings and that this has consequences for views about how perception provides evidence. In this article I spell out my take on these issues by doing three things. First, I distinguish between mere sensations like seeing pitch black all around you and perceptual experiences like seeing a red apple. Both have sensory phenomenology in presenting us with sensory qualities like colors, being analog in Dretske's sense, (...) and being fine-grained. However, only the latter have furthermore a perceptual phenomenology characterized by objectification and related dualities of perspectivality/completion and variation/constancy. Second, I elaborate on the reasons for thinking that both mere sensations and perceptual experiences need to be distinguished from accompanying seemings that passively assign things into conceptual categories and thereby tell you something about them. For example, when you look at a red apple and have the relevant recognitional abilities it will also normally seem to you that this is an apple. Finally, I argue that the best version of the popular dogmatist view about evidence is one which claims that it's neither experiences nor seemings by themselves, but rather the right sorts of composites of experiences and seemings that provide evidence. (shrink)

This chapter revisits three key disagreements between Locke and Berkeley. The disagreements relate to abstraction, the idea of substance, and the status of the primary/secondary quality distinction. The goal of the chapter is to show that these disagreements are rooted in a more fundamental disagreement over the nature of ideas. For Berkeley, ideas are tied very closely to perceptual content. Locke adopts a less restrictive account of the nature of ideas. On his view, ideas are responsible for both (...) class='Hi'>perceptual content and non-perceptual mental content. Recognizing this allows for the following analysis of their disputes. Berkeley often appeals to introspection to suggest that we do not have some particular idea. But Locke’s arguments that we have a particular idea often appeal to the functional role the idea has in our cognitive economy rather than to facts about our immediate phenomenology. (shrink)

I am aware of the tree and its leaves, but am I aware of my awareness of these things? When I try to introspect my awareness, I just find myself attending to objects and their properties. This observation is known as the ‘transparency of experience’. On the other hand, I seem to directly know that I am aware. Given the first observation, it is not clear how I know that I am aware. Fred Dretske thought that the problem was so (...) acute that he issued the challenge of answering ‘How do you know that you are not a zombie?’ I propose that a view found in the Advaita Vedanta, that awareness is self luminous, reconciles these two observations. I understand self-luminosity as the thesis that: (1) I am implicitly aware of my awareness and (2) I am phenomenally aware of a distinct phenomenal character of my awareness. In support of the first claim, that I apparently only attend to objects in the world when introspecting perceptual experience, suggests that I do not know my awareness explicitly, but rather that I must know it implicitly. In support of the second claim, I argue that the mere fact that I am perceptually conscious is not sufficient to allow me to know that I am perceptually conscious. In particular, the qualities I am perceptually aware of do not tell me that I aware of them, rather they just seem to be properties of objects. I also assess whether strategies for responding to Cartesian sceptical scenarios can be employed against Dretske’s consciousness scepticism. I argue that these strategies either fail to distinguish me from a zombie or they do not adequately describe my epistemic situation. By contrast to other accounts, if awareness has its own distinct phenomenal character, then it cannot be considered to be a prima facie property of the world, hence the self-luminosity of awareness provides a plausible account of how I know that I’m not a zombie. (shrink)

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

In this paper I argue for a syncretistic theory of depiction, which combines the merits of the main paradigms which have hitherto faced themselves on this issue, namely the perceptualist and semioticist approaches. The syncretistic theory indeed takes from the former its stress on experiential factors and from the latter its stress on conventional factors. But the theory is even more syncretistic than this, for the way it accounts for the experiential factor vindicates several claims defended by different perceptualist theories. (...) In a nutshell, according to the syncretistic theory a picture depicts its subject iff i) it is transformed into an entity-cum-meaning and ii) one has the twofold experience of seeing that subject in the picture qua noninterpreted entity, the image, just in case one consciously misrecognizes it in consciously seeing that image, for that subject resembles the image in some grouping properties (originally labelled Gestalt-qualities in psychology). By appealing to objective resemblance in grouping properties, the theory can vindicate what are nowadays taken to be the most neglected doctrines in the perceptualist camp: objective resemblance theories. By appealing, moreover, to conscious misrecognition, the theory not only squares with both the seeing-in and the recognition theories of depiction, but it also shows the grain of truth in illusion theories of depiction, since conscious misrecognition is a kind of perceptual illusion. (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 article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...) expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (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 (...) class='Hi'>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)

Some recently popular accounts of perception account for the phenomenal character of perceptual experience in terms of the qualities of objects. My concern in this paper is with naturalistic versions of such a phenomenal externalist view. Focusing on visual spatial perception, I argue that naturalistic phenomenal externalism conflicts with a number of scientific facts about the geometrical characteristics of visual spatial experience.

We perceive smells as perduring complex entities within a distal array that might be conceived of as smellscapes. However, the philosophical orthodoxy of Odor Theories has been to deny that smells are perceived as having a distal location. Recent challenges have been mounted to Odor Theories’ veracity in handling the timescale of olfactory perception, how it individuates odors as a distal entities, and their claim that olfactory perception is not spatial. The paper does not aim to dispute these criticisms. Rather, (...) what will be shown is that Molecular Structure Theory, a refinement of Odor Theory, can be further developed to handle these challenges. The theory is further refined by focusing on distal perception that requires considering the perceptual object as mereologically complex persisting odor against a background scene conceived of as a smellscape. What will be offered is an expansion of Molecular Structure Theory to account for distal smell perception within natural environments. (shrink)

> Context • The alleged dichotomy between mind and matter is pervasive. Therefore, the attempt to explain mat- ter in terms of mind (idealism) is often considered a mirror image of that of explaining mind in terms of mat- ter (mainstream physicalism), in the sense of being structurally equivalent despite being reversely arranged. > Problem • I argue that this is an error arising from language artifacts, for dichotomies must reside in the same level of abstraction. > Method • I (...) show that, because matter outside mind is not an empirical observation but rather an explanatory model, the epistemic symmetry between the two is broken. Consequently, matter and mind cannot reside in the same level of abstraction. > Results • It then becomes clear that attempting to explain mind in terms of matter is epistemically more costly than attempting to explain matter in terms of mind. > Implications • The qualities of experience are suggested to be not only epistemically, but also ontologically primary. > Constructivist content • I high- light the primacy of perceptual constructs over explanatory abstraction on both epistemic and ontic levels. > Key words • Idealism, physicalism, pancomputationalism, anti-realism, hard problem of consciousness, epistemic symmetry, explanatory abstraction, levels of abstraction. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which are formulated in terms of evaluative predicates (...) (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

This paper is an attempt to spell out what makes the scientific study of pain so distinctive from a philosophical perspective. Using the IASP definition of ‘pain’ as our guide, we raise a number of questions about the philosophical assumptions underlying the scientific study of pain. We argue that unlike the study of ordinary perception, the study of pain focuses from the very start on the experience itself and its qualities, without making deep assumptions about whether pain experiences are (...) perceptual. This in turn puts scientific explanation in a curious position due to pain’s inherently subjective epistemic nature. The reason for this focus on the experience itself and its qualities, we argue, has to do with pain’s complex phenomenology involving an affective/motivational dimension. We argue for the scientific legitimacy of first‐person phenomenological studies and attempts to correlate phenomenology with neural events. We argue that this methodological procedure is inevitable and has no anti‐physicalist ontological implications when properly understood. We end the paper by commenting on a discussion between two prominent pain scientists in the field, Don Price and Howard Fields, about the need to distinguish more dimensions in the phenomenology of pain and how to classify them vis‐à‐vis the recent scientific findings. Our interest in this discussion is not only to introduce some clarifications but also to show how “neurophenomenology” has already been shaping the scientific research and to back our claim about why this methodology is inevitable with an example. (shrink)

The topic of this paper is the perception of properties. It is argued that the perception of properties allows for a distinction between the sense of the identity and the sense of the qualitative nature of a property. So, for example, we might perceive a property as being identical over time even though it is presented as more and more determinate. Thus, you might see an object first as red and then as crimson red. In this case, the property is (...) perceived as identical over time, even though the sense of the qualitative nature (the redness, the crimson redness) of the property is changing. The distinction between the sense of identity and the sense of quality is explicated in terms of perceiving a particular property, a trope, and perceiving it as an instance of a universal. It is subsequently argued that the perceived tropes cannot constitute the phenomenal character of the perceptual experience. (shrink)

Recent philosophy has seen a resurgence of the realist view of sensible qualities such as colour. The view holds that experienced qualities are properties of the objects in the physical environment, not mentally instantiated properties like qualia or merely intentional, illusory ones. Some suggest that this move rids us of the explanatory gap between physical properties and the qualitative features of consciousness. Others say it just relocates the problem of qualities to physical objects in the environment, given (...) that such qualities cannot be derived from the non-qualitative properties of objects, and it does not resolve the problem of consciousness either. I argue that such an outcome is welcome: if the physical world is full of explanatory gaps, then the mind–body explanatory gap is not so special. Moreover, the explanatory gaps regarding qualities of objects are less puzzling than the brain-qualia gap. In order to counter the usual worries concerning realism about objective qualities, I introduce ‘imperfect realism’ as an alternative to colour pluralism and complex reductionism, which accommodates realism in the face of widespread perceptual error. I conclude with a discussion of how this ‘multiple-gaps view’ sits better with a naturalistic framework compared to the Galilean-Cartesian account of qualities. (shrink)

This paper contrasts individual and collective listening to music, with particular regard to the expressive qualities of music. In the first half of the paper a general model of joint attention is introduced. According to this model, perceiving together modifies the intrinsic structure of the perceptual task, and encourages a convergence of responses to a greater or lesser degree. The model is then applied to music, looking first at the silent listening situation typical to the classical concert hall, (...) and second the noisy listening situation typical to rock or jazz concerts. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...) others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

Studies show that people we judge to have good character we also evaluate to be more attractive. I argue that in these cases, evaluative perceptual experiences represent morally admirable people as having positive (often intrinsic) value. Learning about a person's positive moral attributes often leads us to feel positive esteem for them. These feelings of positive esteem can come to partly constitute perceptual experiences. Such perceptual experiences evaluate the subject in an aesthetic way and seem to attribute (...) aesthetic qualities like 'beauty' to the object of perception. Moreover, these aesthetic qualities like 'beauty' represent the perceived to have various kinds of value. (shrink)

Imagine your mirror‐inverted counterpart on Mirror Earth, a perfect mirror image of Earth. Would her experiences be the same as yours, or would they be phenomenally mirror‐inverted? I argue, first, that her experiences would be phenomenally the same as yours. I then show that this conclusion gives rise to a puzzle, one that I believe pushes us toward some surprising and philosophically significant conclusions about the nature of perception. When you have a typical visual experience as of something to your (...) left, the following three claims seem very plausible: (1) No one could have an experience phenomenally just like yours without thereby having an experience as of something to her left. (2) Your experience is veridical. (3) Your experience doesn't differ from that of your mirror‐inverted counterpart with respect to veridicality. But (1)‐(3) jointly contradict the claim that you and your mirror‐inverted counterpart would have the same experiences. I argue that any viable response to this puzzle will embrace the following disjunction: either there is a degree of independence between perceptual phenomenology and representational content, contrary to popular intentionalist views of perception, or spatial subjectivism is true, where spatial subjectivism is the view that the spatial properties presented in perception are either mind‐dependent or illusory. (shrink)

We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure-ground (...) segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

The current state of philosophy of science is characterized by stasis in the struggle between realism and antirealism. In recent years, a number of authors have come out with a program of scientific perspectivism that claims to sublate this great collision and gain the status of a new epistemological paradigm: “perspectivism, or, better, perspectival realism, is one of the newest attempts to find a middle ground between scientific realism and antirealism” [1. P. 2]. Important milestones of the perspective movement were (...) the works of Ronald Giere, Francois Recanati, Bas van Fraassen, Michela Massimi, and others. The thesis of the article is that perspectivism has not yet realized its claims to autonomy, although it has become an important new arena for discussions between realists and antirealists who try to appropriate perspectivist concepts and arguments. The “middle ground,” when thought out consistently and thoroughly, turns out to lie not “between,” but either in the territory of realism or in the territory of antirealism, depending on the presumptions of the author of a particular perspectivist conception. This is demonstrated by the analysis of the conceptions of Giere, Massimi, and Recanati. Giere’s perspectivism is based on the metaphor of color vision, and for him only some (secondary) qualities of real objects turn out to be perspectival, i.e., subject-dependent. Massimi’s perspectivism attempts, on the basis of a visual arts metaphor, to combine the phenomenon of the plurality of scientific theories (“perspectival disagreement” about what an object is) with the general realist attitude of science (agreement about that there is an object). Recanati’s perspectivism syncretizes realism about ordinary objects and relativism about other things. The first two versions of perspectivism rely on a perceptual metaphor: perspective is conditioned by the perceptual constitution of the observer, that is, it arises at the mental or cognitive level. Recanati’s version attempts to derive perspective from contextuality, that is, it is semantic. However, it does not show exactly how perceptual categories are superimposed on theories or how scientific concepts reveal their perspectival character. The isomorphism of perception and theoretical thinking, sensibility and understanding, remains undemonstrated. On the one hand, perspectivist efforts are motivated by an important concern to account for antirealist critique (lack of access to the “view from nowhere,” factual and semantic underdetermination, difficulties with the idea of approaching the truth, the historicity of knowledge, the activeness of the constructing subject, etc.) while preserving the scientific commitment to universality, validity, and truthfulness. On the other hand, the ontological question remains fundamental and unavoidable, and perspectivism (yet?) fails to circumvent it. As we see, all three versions of perspectivism considered in this article turn out to be varieties of realism: Giere and Massimi recognize this explicitly, while Recanati de facto assumes a quite respectable and conservative position of selective realism with respect to ordinary objects. (shrink)

Psychological momentum (PM) is thought to be a force that influences judgment, emotion, and performance. Based on a review of the extant literature, we elucidate two distinct approaches that researchers have adopted in their study of PM: the input-centered approach and the output-centered approach. Consistent with the input-centered approach, we conceptualize PM as a process whereby temporal and contextual PM-like stimuli (i.e., perceptual velocity, perceptual mass, perceptual historicity, and perceptually interconnected timescales)—initially perceived as an impetus—are extrapolated to (...) imagined future outcomes through mental simulation. In turn, and consistent with the output-centered approach, we posit that mental simulation elicits experiential (e.g., perceptual, cognitive, emotional) and behavioral states that govern goal pursuit, and that the pursuit of goals further influences perceptions of self, environment, and action quality. In all, we suggest that PM is interdependently linked to perceptions and behaviors in the sense that PM both influences and is influenced by changes in self-perceptions, environmental perceptions, and behavior, and we conclude by linking the PM construct to recent work on prospection. (shrink)