Event concepts are unstructured atomic concepts that apply to event types. A paradigm example of such an event type would be that of diaper changing, and so a putative example of an atomic event concept would be DADDY'S-CHANGING-MY-DIAPER.1 I will defend two claims about such concepts. First, the conceptual claim that it is in principle possible to possess a concept such as DADDY'S-CHANGING-MY-DIAPER without possessing the concept DIAPER. Second, the empirical claim that we actually possess such concepts and that they (...) play an important role in our cognitive lives. The argument for the empirical claim has the form of an inference to the best explanation and is aimed at those who are already willing to attribute concepts and beliefs to infants and nonhuman animals. Many animals and prelinguistic infants seem capable of re-identifying event-types in the world, and they seem to store information about things happening at particular times and places. My account offers a plausible model of how such organisms are able to do this without attributing linguistically structured mental states to them. And although language allows adults to form linguistically structured mental representations of the world, there is no good reason to think that such structured representations necessarily replace the unstructured ones. There is also no good reason for a philosopher who is willing to explain the behavior of an organism by appealing to atomic concepts of individuals or kinds to not use a similar form of explanation when explaining the organism's capacity to recognize events. -/- We can form empirical concepts of individuals, kinds, properties, event-types, and states of affairs, among other things, and I assume that such concepts function like what François Recanati calls ‘mental files’ or what Ruth Millikan calls ‘substance concepts’ (Recanati 2012; Millikan 1999, 2000, 2017). To possess such a concept one must have a reliable capacity to re-identify the object in question, but this capacity of re-identification does not fix the reference of the concept. Such concepts allow us to collect and utilize useful information about things that we re-encounter in our environment. We can distinguish between a perception-action system and a perception-belief system, and I will argue that empirical concepts, including atomic event concepts, can play a role in both systems. The perception-action system involves the application of concepts in the service of (often skilled) action. We can think of the concept as a mental file containing motor-plans that can be activated once the individual recognizes that they are in a certain situation. In this way, recognizing something (whether an object or an event) as a token of a type, plays a role in guiding immediate action. The perception-belief system, in contrast, allows for the formation of beliefs that can play a role in deliberation and planning and in the formation of expectations. I distinguish between two particular types of belief which I call where-beliefs and when-beliefs, and I argue that we can model the formation of such perceptual beliefs in nonlinguistic animals and human infants in terms of the formation of a link between an empirical concept and a position on a cognitive map. According to the account offered, seemingly complex beliefs, such as a baby's belief that Daddy changed her diaper in the kitchen earlier, will not be linguistically structured. If we think that prelinguistic infants possess such concepts and are able to form such beliefs, it is likely that adults do too. The ability to form such beliefs does not require the capacity for public language, and we can model them in nonlinguistic terms; thus, we have no good reason to think of such beliefs as propositional attitudes. Of course, we can use sentences to refer to such beliefs, and thus it is possible to think of such beliefs as somehow relations to propositions. But it is not clear to me what is gained by this as we have a perfectly good way to think about the structure of such beliefs that does not involve any appeal to language. (shrink)

Outside of philosophy, ‘intuition’ means something like ‘knowing without knowing how you know’. Intuition in this broad sense is an important epistemological category. I distinguish intuition from perception and perception from perceptual experience, in order to discuss the distinctive psychological and epistemological status of evaluative property attributions. Although it is doubtful that we perceptually experience many evaluative properties and also somewhat unlikely that we perceive many evaluative properties, it is highly plausible that we intuit many instances (...) of evaluative properties as such. The resulting epistemological status of evaluative property attributions is very much like it would be if we literally perceived such properties. (shrink)

The idea that concepts play a significant role in some perceptions is widespread but everybody seems to differ as to where to draw the line. Some researchers say that the difference between direct and indirect, concept driven acts of perception manifests itself whenever we perceive abstract or general properties. Others point at second order properties or causal properties. I call this inability to precisely differentiate between acts of direct and indirect perception “The Division Problem”. Furthermore (...) there is always a question as to how widespread indirect perceptions are. Can we attribute them to prelingual cognitive systems? I call this second problem “The Distribution Problem”. -/- The main aim of the paper is providing a solution to both problems by proposing a naturalistic explication of the notion of “concept”. -/- I propose to identify the role concepts were supposed to play in perception with a mechanism of “soft detection”. Unlike hard detectors which react to a specific target in virtue of their constitution and placement in the system, soft detectors are understood as dynamic categorization devices enabling the cognitive system to selectively react to an undetectable property via flexible exploitation of data from hard detectors. -/- I conclude by showing how the notion of soft detection retains some of the aspects traditionally attributed to concepts and how does it differ from similar accounts known from contemporary literature. (shrink)

Perceptual representations pick out individuals and attribute properties to them. This paper considers the role of perceptual attribution in determining or guiding perceptual reference to objects. We consider three extant models of the relation between perceptual attribution and perceptual reference–all attribution guides reference, no attribution guides reference, or a privileged subset of attributions guides reference–and argue that empirical evidence undermines all three. We then defend a flexible-attributives model, on which the range of perceptual attributives used to guide reference shifts (...) adaptively with context. This model underscores the remarkable and dynamic intelligence of our perceptual capacities. We elucidate implications of the model for the boundary between perception and propositional thought. (shrink)

It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective (...) account. I argue that the standard case of experiential aesthetic property attribution is affective experience. (shrink)

A straightforward way of thinking about perception is in terms of perceptual representation. Perception is the construction of perceptual representations that represent the world correctly or incorrectly. This way of thinking about perception has been questioned recently by those who deny that there are perceptual representations. This article examines some reasons for and against the concept of perceptual representation and explores some potential ways of resolving this debate. Then it analyzes what perceptual representations may be: if they (...) attribute properties to entities, what are these attributed properties, and what are the entities they are attributed to. (shrink)

Colour is, according to prevailing orthodoxy in perceptual psychology, a kind of autonomous and unitary attribute. It is regarded as unitary or homogeneous by assuming that its core properties do not depend on the type of ‘perceptual object’ to which it pertains and that‘colour per se’ constitutes a natural attribute in the functional architecture of the perceptual system. It is regarded as autonomous by assuming that it can be studied in isolation of other perceptual attributes. These assumptions also provide (...) the pillars for the technical field of colorimetry, and have proved very fruitful for neurophysiological investigations into peripheral colour coding. They also have become, in a technology-driven cultural process of abstraction, part of our common-sense conception of colour. With respect to perception theory, however, both assumptions are grossly inadequate, on both empirical and theoretical grounds. All the same, the idea of an internal homogeneous and autonomous attribute of ‘colour per se’, mostly taken not as an empirical hypothesis but as a kind of truism, became a guiding idea in perceptual psychology. Here, it has impeded the identification of relevant theoretical issues and consequently has become detrimental for the development of explanatory frameworks for the role of ‘colour’ within the structure of our perceptual system. The chapter argues that enquiries into colour perception cannot be divorced from general enquiries into the structure of the conceptual forms underlying perception. (shrink)

In this paper the author reviews the most debated theories of art in contemporary aesthetics and offers a new, intentional-attributive definition of art. He begins by expanding on Weitz’s theory, after which he presents arguments that refute Weitz's claim that it is logically impossible to define art. The author then examines the institutional, the historical, and the aesthetic definitions of art and shows that all of these have weaknesses and none stands up completely to criticism. Taking into consideration the shortcomings (...) of the examined definitions, he suggests his own definition of art: for all x, x is an artwork if the author of x mainly intended to reveal such properties of x, the perception of which would evoke experiences, containing ends in themselves. (shrink)

Consider the distinctive qualitative property grass visually appears to have when it visually appears to be green. This property is an example of what I call sensuous color. Whereas early modern mechanists typically argue that bodies are not sensuously colored, Margaret Cavendish (1623–73) disagrees. In cases of veridical perception, she holds that grass is green in precisely the way it visually appears to be. In defense of her realist approach to sensuous colors, Cavendish argues that (i) it is impossible (...) to conceive of colorless bodies, (ii) the very possibility of color experience requires that bodies are sensuously colored, and (iii) the attribution of sensuous colors to bodies provides the best explanation of color constancy. Although some passages might suggest that Cavendish endorses a reductive account of sensuous color, according to which sensuous color reduces to a body's microscopic surface texture (or some other mechanistically respectable property), I argue that she accepts a nonreductive account, on which sensuous color is not thus reducible. (shrink)

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a (...) property to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

Aesthetic evaluations of human bodies have important implications for moral recognition and for individuals’ access to social and material goods. Unfortunately, there is a widespread aesthetic disregard for non-white bodies. Aesthetic evaluations depend on the aesthetic properties we regard objects as having. And it is widely agreed that aesthetic properties are directly accessed in our experience of aesthetic objects. How, then, might we explain aesthetic evaluations that systematically favour features associated with white identity? Critical race philosophers, like Alia (...) Al-Saji, Mariana Ortega, Paul C. Taylor, and George Yancy, argue that this is because the perception of racialized bodies is affected by the social structures in which they are appreciated. The aim of this paper is to propose how social structures can affect aesthetic perception. I argue that mental imagery acquired through the interaction with aesthetic phenomena structures the perception of non-aesthetic properties of bodies, so that aesthetic properties consistent with racist stereotypes are attributed to individuals. (shrink)

The capacity for feature binding is typically explained in terms of the attribution model: a perceptual state selects an individual and attributes properties to it (Kahneman & Treisman 1984; Clark 2004; Burge 2010). Thus features are bound together in virtue of being attributed to the same individual. While the attribution model successfully explains some cases of binding in perception, not all binding need be understood as property attribution. This chapter argues that some forms of binding—those involving holistic (...) iconic representations, which bind features outside the limits of attention and object files—don’t fit the attribution model. The chapter then sketches an alternative coordination model of binding that construes icons as complex analog representations. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of (...) class='Hi'>perception into account. The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible form. (...) Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

I argue that perceptual content is always affected by the allocation of one’s attention. Perception attributes determinable and determinate properties to the perceived scene. Attention makes (or tries to make) our perceptual attribution of properties more determinate. Hence, a change in our attention changes the determinacy of the properties attributed to the perceived scene.

ABSTRACT The philosophical tradition approaches to morals have their grounds predominantly on metaphysical and theological concepts and theories. Among the traditional ethics concepts, the most prominent is the Divine Command Theory (DCT). As per the DCT, God gives moral foundations to the humankind by its creation and through Revelation. Morality and Divinity are inseparable since the most remote civilization. These concepts submerge in a theological framework and are largely accepted by most followers of the three Abrahamic traditions: Judaism, Christianity, and (...) Islam: the greatest part of the human population. Holding faith and Revelation for its grounds, the Divine Command Theories are not strictly subject to the demonstration. The opponents to the Divine Command conception of morals, grounded in the impossibility of demonstration of its metaphysical and religious assumptions, have tried for many centuries (albeit unsuccessfully) to devalue its importance. They held the argument that it does not show material evidence and logical coherence and, for this reason, cannot be taken into account for scientific nor philosophical purposes. It is just a belief and, as so, should be understood. Besides these extreme oppositions, many other concepts contravene the Divine Command theories, in one or another way, in part or in full. Many philosophers and social scientists, from the classic Greek philosophy up to the present date, for instance, sustain that morality is only a construct, and thus culturally relative and culturally determined. However, this brings many other discussions and imposes the challenge to determine what is the meaning of culture, which elements of culture are morally determinant, and finally, what are the boundaries of such relativity. Moral determinists claim that everything related to human behavior, including morality, is determined, once free will does not exist. More recently, modern thinkers argued that there is a strict science of morality. However, the scientific method alone, despite explaining several facts and evidence, cannot enlighten the entire content and full meaning of ethics. Morals’ understanding requires a broader perception, and an agreement among philosophers, which they have never achieved. All of these questions have many different configurations depending on each philosophical strand, and start complex analysis and endless debates, as long as many of them are reciprocally conflictive. The universe and the atmosphere involving this thesis are the dominions of all these conceptual conflicts, observed from an objective and evolutionary standpoint. Irrespective of this circumstance and its intrinsic importance, however, these questions are far distant from the methodological approach of an analytical discussion on objective morals, what is, indeed, the aim and scope of this work. We should briefly revisit these prominent traditional theories because this thesis shelters a comparative study, and its assumptions at least differ profoundly from all traditional theories. Therefore, it becomes necessary offering direct and specific elements of comparison to the reader, for the right criticism, dispensing interruptive researches. However, even revisiting the traditional theories, for this comparative and critical exposure purpose, they will be kept by the side of our main concerns, as “aliena materia.” Irrespective of the validity of any or all of the elements of this discussion, and their meaning as the philosophical universe of this thesis, the purpose of this work is demonstrating and justifying the existence and meaning of prehistoric moral archetypes arisen directly from the very first social needs and efforts for survival. These archetypes are the definition of the essential foundation of ethics, its aggregation to the collective unconscious and corresponding logic organization and transmission to evolutionary stages of the human genome and different relations space-time, irrespective of any contemporary experience of the individuals. The system defined by these archetypes composes an evolutionary human social model. Is this a metaethical position? Yes, it is. Moreover, as in any metaethical reasoning, we should look carefully for the best and coherent routes, as the Analytical Philosophy offers them. Thus, this work should reasonably demonstrate that morals are not a cultural product of the civilized men or modern societies and that despite being subject to several cultural relative aggregations and subtractions, its essential foundations are archetypal and have never structurally changed. This reasoning induces that morality is an original attribute of the “homo sapiens”; it is not a property and nor an accident: it integrates the human essence and belongs to the realm of the ontological human identity. The human phenomena is a continuing process, playing its role between random determination and free will, and we need to question how morality began and how did it come to us in the present. (shrink)

Participants in the cognitive phenomenology debate have proceeded by (a) proposing a bifurcation of theoretical options into inflationary and non-inflationary theories, and then (b) providing arguments for/against one of these theories. I suggest that this method has failed to illuminate the commonalities and differences among conscious intentional states of different types, in the absence of a theory of the structure of these states. I propose such a theory. In perception, phenomenal-intentional properties combine with somatosensory properties to form (...) P-I property clusters that serve as phenomenal modes of presentations of particulars. In imagination, somatosensory properties are replaced with phenomenal-intentional properties whose intentional objects are somatosensory properties, thus resulting in imaginative facsimiles of perceptual P-I property clusters. Such structures can then be used as phenomenal prototypes that pick out individuals and kinds. Sets of such prototypes constitute a subject’s conception of individuals and kinds. Combined with a few additional elements, these imaginative P-I property clusters serve as the building-blocks of conscious cognitive states. Different ways of carving up theoretical space classify my theory either as inflationary or as non-inflationary. I conclude that the theory is anti-inflationary in letter but inflationary in spirit. (shrink)

The chapter argues from an ethology-inspired internalist perspective that ‘colour’ is not a homogeneous and autonomous attribute, but rather plays different roles in different conceptual forms underlying perception. It discusses empirical and theoretical evidence that indicates that core assumptions underlying orthodox conceptions are grossly inadequate. The assumptions pertain to the idea that colour is a kind of autonomous and unitary attribute. It is regarded as unitary or homogeneous by assuming that its core properties do not depend on the (...) type of ‘perceptual object’ to which it pertains and that‘colour per se’ constitutes a natural attribute in the functional architecture of the perceptual system. It is regarded as autonomous by assuming that it can be studied in isolation of other perceptual attributes. More generally, the chapter argues on the bases of corresponding empirical and theoretical evidence that perception cannot be understood as the ‘recovery’ of physical world structure from sensory structure by input-based computational processes. Rather, the sensory input serves as a kind of sign for biologically relevant aspects of the external world that activates biologically given conceptual forms with their internal parameters. Although the sensory input is a causally necessary requirement for the activation of conceptual forms, the perceptual computations triggered are under the control of an internal programme based on a set of conceptual forms. (shrink)

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

I offer an explanation of how subjects are able to perceive the intrinsic spatial properties of objects, given that subjects always perceive from a particular location. The argument proceeds in two steps. First, I argue that a conception of space is necessary to perceive the intrinsic spatial properties of objects. This conception of space is spelled out by showing that perceiving intrinsic properties requires perceiving objects as the kind of things that are perceivable from other locations. Second, (...) I show that having such a conception of space presupposes that a subject represent her location in relation to perceived objects. More precisely the thesis is that a subject represents her location as the location from which she both perceives objects and would act in relation to objects were she to act. So I argue that perception depends on the capacity to know what it would be to act in relation to objects. (shrink)

This article outlines a “descriptive animal ethics” based on the study of people’s intuitions about particular cases, in order to determine which moral theories best comport with those intuitions. I suggest that the latter need not be unreliable since they may be endorsed as considered judgments, and that even if they were, knowing them would still provide relevant information for a complete moral theory concerned with what moral agents can do. I describe a survey in descriptive ethics, discuss the results, (...) and introduce prospective experiments. I then set forth hypotheses and propose a dual model of moral status attribution in terms of both intrinsic and extrinsic properties. I rely on recent empirical research in psychology and experimental philosophy, which I confront with the above results, to support my hypotheses. The model predicts that attributions vary depending on the capacities of entities, their context (including relationships), and the context of the attributor. These facts of descriptive ethics, I conclude, are directly relevant to normative ethics insofar as our cognitive apparatus constrains our ability to act morally. Moreover, they suggest ways to improve moral perception, education, and motivation. (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)

Philosophers of perception widely agree that sensory properties, like color, are represented in perceptual experience. Arguments are usually needed to establish that something other than sensory properties, for example three-dimensional objects or kind properties, are part of perceptual content. Call the idea that sensory properties are represented in perceptual experience the Sensation View (SV). Given its widespread acceptance, we may expect to find strong reasons for holding SV. In this paper, I argue that we lack (...) such reasons: SV is largely unjustified. We have surprisingly poor justification for thinking that sensory properties are represented in perception. By focusing on the case of vision, I show that an embedded understanding of visual perception, and empirical evidence in cognitive psychology, indicate that SV is far from warranted. (shrink)

This book argues that there is a joint in nature between seeing and thinking, perception, and cognition. Perception is constitutively iconic, nonconceptual, and nonpropositional, whereas cognition does not have these properties constitutively. The book does not appeal to “intuitions,” as is common in philosophy, but to empirical evidence, including experiments in neuroscience and psychology. The book argues that cognition affects perception, i.e., that perception is cognitively penetrable, but that this does not impugn the joint in (...) nature. A key part of the argument is that we perceive not only low-level properties like colors, shapes, and textures but also high-level properties such as faces and causation. Along the way, the book explains the difference between perception and perceptual memory, the differences between format and content, and whether perception is probabilistic despite our lack of awareness of probabilistic properties. The book argues for perceptual categories that are not concepts, that perception need not be singular, that perceptual attribution and perceptual discrimination are equally fundamental, and that basic features of the mind known as “core cognition” are not a third category in between perception and cognition. The chapter on consciousness leverages these results to argue against some of the most widely accepted theories of consciousness. Although only one chapter is about consciousness, much of the rest of the book repurposes work on consciousness to isolate the scientific basis of perception. (shrink)

This paper argues for deific perception, the idea that some perceptual experiences represent deific properties, as an explanation for a certain type of religious experience. Using Siegel's method of phenomenal contrast, a pair of experiences are compared: an ordinary perception of a black rose, and one where the rose seems imbued with religious significance. Intuitively, these have different phenomenologies. Deific perception posits that in the religiously-significant experience, a deific property like "being a creature of God" partly (...) constitutes the visual phenomenology. Rival explanations like differences in attention or cognitive penetration fail to account for the phenomenal contrast. Deific perception coheres with realism about religious properties and provides a naturalistic explanation of how some people directly sense the divine in nature. If valid, it suggests that with proper background beliefs and recognition capacities, perception can represent high-level deific properties, just as it may represent other abstract properties like natural kinds. The paper thus contributes to debates on the contents of perception and offers a sympathetic account of a class of numinous experiences. (shrink)

Visual perception is widely taken to present properties such as redness, roundness, and so on. This in turn might be thought to give rise to accuracy conditions for experience, and so content, regardless of which metaphysical view of perception one endorses. An influential version of this argument—Susanna Siegel’s ’Argument from Appearing’—aims to establish the existence of content as common ground between representational and relational views of perception. This goes against proponents of ‘austere’ relationalism who deny that (...) content plays a substantive role in philosophical explanations of conscious perceptual experience. Though Siegel’s argument purports to be neutral with respect to the metaphysics of perception, it relies upon an equivocation between the presentation of property-types and property-instances. Consequently, the argument begs the question against the austere relational view, and so fails to establish the desired conclusion. So while relationalists can and should allow that experiences have accuracy conditions, it does not follow from this that they have contents of any philosophically interesting or significant kind. (shrink)

Arguments for attributing non-conceptual content to experience have predominantly been motivated by aspects of the visual perception of empirical properties. In this article, I pursue a different strategy, arguing that a specific class of affective-evaluative experiences have non-conceptual content. The examples drawn on are affective-evaluative experiences of first exposure, in which the subject has a felt valenced intentional attitude towards evaluative properties of the object of their experience, but lacks any powers of conceptual discrimination regarding those evaluative (...) properties. I also show that by accepting this thesis we can explain relevant features of evaluative understanding. (shrink)

It has been argued recently that perception is indeterminate. But there are more than one ways of spelling out what this means. The standard line is that perceptual states attribute different probabilities to different propositions. I provide an alternative to this view, where it is not the attitude, but the content of perceptual states that is indeterminate, inasmuch as it consists of the representation of determinable properties. This view does justice to the more general claim that perception (...) is indeterminate without appealing to probability either in the attitude or in the content. (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of (...) our experience of pictures: the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

In this paper I argue that there are problems with the foundations of the current version of physicalism about color. In some sources laying the foundations of physicalism, types of surface reflectance corresponding to (veridical) color perceptions are characterized by making reference to properties of the observer. This means that these surface attributes are not objective (i.e. observer-independent). This problem casts doubt on the possibility of identifying colors with types of surface reflectance. If this identification cannot be maintained, that (...) in turn threatens representationalist theories of phenomenal consciousness: there remains no objective, observer-independent property that color experiences represent - hence no representational content, in terms of semantic externalism, can be attributed to color experiences. I offer an alternative account of color and conclude that further empirical study is required to do justice to the basic claims of color physicalism. (shrink)

In the context of animal cognitive research, anthropomorphism is defined as the attribution of uniquely human mental characteristics to animals. Those who worry about anthropomorphism in research, however, are immediately confronted with the question of which properties are uniquely human. One might think that researchers must first hypothesize the existence of a feature in an animal before they can, with warrant, claim that the property is uniquely human. But all too often, this isn't the approach. Rather, there is an (...) a priori argument against attributing some properties to animals. Which features are thought to be uniquely human on a priori grounds? The class can be quite large, including psychological states such as beliefs and desires, personality traits such as confidence or timidity, emotions such as happiness or anger, social organizational properties such as culture or friendship, moral behavior such as punishment or rape. For convenience, I will refer to the members of the class as "psychological properties". One critic includes feeling, purpose, intentionality, consciousness, and even cognition in his list of psychological properties that are incorrectly attributed to animals (Kennedy 1992). Among the critics, there is quite a bit of disagreement about what counts as an anthropomorphic attribution, and this alone should raise questions about the charge. We can identify two different questions about the practice of attributing psychological properties to animals within a scientific context. First we can ask whether it is scientifically respectable to examine questions about the mental, psychological, cultural, etc. states of animals. Those who bemoan anthropomorphism think that we ought not even ask such questions. I will look at the worries about asking the question, and argue that there is no special problem with it. The second question arises with an affirmative answer to the first. Given that it is scientifically respectable to examine whether an animal has a psychological property, there must be some scientifically respectable method for doing the examination.. (shrink)

Abstract: I defend the intuition that the phenomenology of our experience is right in attributing the colors we see to objects; but although colors are properties of objects, they are constitutively dependent on the perceiver’s experiences. I offer a metaphysical account for this primitivist intuition, in response to David Chalmers’ arguments against it, drawing inspiration from Aristotle’s theory of causation.

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

Abstract: When I throw a ball at you, do you see it as catch-able? Do we perceive objects as edible, climbable or Q-able in general? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we only infer on the basis of its other properties that it is. I argue that whether or not an object is edible or climbable is indeed represented perceptually: we see objects (...) as edible, and do not just believe that they are. My argument proceeds in two steps. First, I argue that in order to perform an action Q with respect to an object, we need to represent this object as Q-able and, second, I argue that we represent objects as having these properties perceptually. (shrink)

We present a rigorous way to evaluate the visual perception of correlation in scatterplots, based on classical psychophysical methods originally developed for simple properties such as brightness. Although scatterplots are graphically complex, the quantity they convey is relatively simple. As such, it may be possible to assess the perception of correlation in a similar way. Scatterplots were each of 5.0 extent, containing 100 points with a bivariate normal distribution. Means were 0.5 of the range of the points, (...) and standard deviations 0.2 of this range. Precision was determined via an adaptive algorithm to find the just noticeable differences (jnds) in correlation, i.e., the difference between two side-by-side scatterplots that could be discriminated 75% of the time. Accuracy was measured by direct estimation, using reference scatterplots with fixed upper and lower values, with a test scatterplot adjusted so that its correlation appeared to be halfway between these. This process was recursively applied to yield several further estimates. Results of the discrimination tests show jnd(r) = k (1/b – r), where r is the Pearson correlation, and parameters 0 < k, b < 1. Integration yields a subjective estimate of correlation g(r) = ln(1 – br) / ln(1– b). The values of b found via discrimination closely match those found via direct estimation. As such, it appears that the perception of correlation in a scatterplot is completely described by two related performance curves, specified by two easily-measured parameters. (shrink)

There is a straightforward view of perception that has not received adequate consideration because it requires us to rethink basic assumptions about the objects of perception. In this paper, I develop a novel account of these objects—the sensible qualities—which makes room for the straightforward view. I defend two primary claims. First, I argue that qualities like color and shape are “ontologically flexible” kinds. That is, their real definitions allow for both physical objects and mental entities to be colored (...) or shaped. Second, a single instance of these qualities can be attributed to more than one entity. Just as we attribute the same instance of a material property to a statue and to the clay that constitutes it, single instances of sensible qualities should be attributed both to the physical objects perceived and to the perceptual states that have those instances as their objects. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative (...) thought. Historicism about artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

This paper defends doubts about the existence of genuine moral perception, understood as the claim that at least some moral properties figure in the contents of perceptual experience. Standard examples of moral perception are better explained as transitions in thought whose degree of psychological immediacy varies with how readily non-moral perceptual inputs, jointly with the subject's background moral beliefs, training, and habituation, trigger the kinds of phenomenological responses that moral agents are normally disposed to have when they (...) represent things as being morally a certain way. (shrink)

What are the sensory individuals of audition? What are the entities our auditory system attributes properties to? We examine various proposals about the nature of the sensory individuals of audition, and show that while each can account for some aspects of auditory perception, each also faces certain difficulties. We then put forward a new conception of sensory individuals according to which auditory sensory individuals are composite individuals. A feature shared by all existing accounts of sounds and sources is (...) that they postulate sensory individuals that are non-composite. They identify the sensory individual of sound hearing or source hearing with one type of entity in the environment, be they sound waves, vibrations, or interactions. We question this assumption and argue that our perceptual systems represent two or more aspects of the environment as a single sensory individual. Finally, we show that taking auditory individuals to be composite sensory individuals allows for an account of audition that is less problematic than its existing alternatives. (shrink)

Almost any mainstream reading about the nature of Kant's 'content of cognition' in both non-conceptualist and conceptualist camps agree that 'singular representations' (sensible intuitions) are, at least in some weak sense, objectdependent because they supervene on a manifold of sensations that are given through the disposition of our sensibility and parallel thus the real and physical components of the world (cf. McDowell 1996, Allison 1983, Ginsborg 2008, Allais 2009). The relevant class of sensible intuitions should refer, as they argue, only (...) to empirical and not to pure ones. Kant's transcendental argument creates, however, no implications as to the metaphysics of properties. Neither does he consider the world to be consisted of sensory content simpliciter nor do sensations refer to objects per se. Instead, he provides an all-encompassing pattern for sensible intuitions of any kind through the representation of space as a cognitive map in that an object can be represented if spatial properties are attributed to it. Sensible intuitions of any kind could be referring, that is to say, and can be conceptualized if they are spatial. Consequently and unlike the contemporary philosophy of perception, Kant contrasts sensible intuitions and pure concepts of understanding 'altogether' against one single experience, from which the justification of objects should proceed. In other words, what stands at the core of exposing the content of cognition concerns not the phenomenological status and actuality of sensible intuitions in the sense of 'bits of experiential intake', but the logical structure of possibility of sensible intuitions of any (external or internal) causal background. The aim of this discussion is to clarify that Kant's transcendental idealism mutatis mutandis reviews multiple and diverse kinds of 'data of mind' and cognition in the background, without reducing the content of cognition to metaphysically determined referents as 'matters of fact' and to pure concepts of understanding. Sensible intuitions in the sense of content of cognition vary, most importantly, from unstructured and unjustifiable data of mind including (physical) contents of perception and stuff of mind and also from reflective and intellectual intuitions that are the cognates of the structured complex singular representations. Put it in simple terms, Kant advocates the thesis that 'facts' are objects for concepts if they are already well-founded trough the cognitive map of the representation of space. -/- . (shrink)

In Sense-certainty, the being of the particular object of sense was found to belong to the universality - of consciousness. This relationship between the universal truth of the object and its sensuous determinate particularity is called the Thing of Perception, basically a Thing and its perceived properties. However, in perception it was concluded that the particular Thing is ultimately resolved into the unconditioned universality of the Understanding. Thus in both Sense-certainty and Perception the particular object or (...) Thing proves to be essentially universality. It is important to recollect the development that has taken place up to this point, i.e., the various moments and movements of thinking that constitute the activity, or dynamic essence, of what is called, in totality, consciousness or knowing. The full explication of what consciousness is in its completely developed form has not yet been reached, but only what may broadly be referred to as the first three stages (Sense-certainty, Perception, Understanding) in the complete activity that will be necessary and sufficient to adequately comprehend consciousness. When the movement of consciousness is completed, the development will continue onward to the stages of Self-consciousness, Reason, and Spirit. (shrink)

Whether perceptual experience represents high-level properties like causation and natural-kind in virtue of its phenomenology is an open question in philosophy of mind. While the question of high-level properties has sparked disagreement, there is widespread agreement that the sensory phenomenology of perceptual experience presents us with low-level properties like shape and color. This paper argues that the relationship between the sensory character of experience and the low-level properties represented therein is more complex than most assume. Careful (...) consideration of mundane examples, like looking at a coin from an oblique angle, show that the low-level properties represented in experience do not necessarily figure in the sensory character of the experience. Furthermore, the sensible properties invoked when characterizing the sensory character of a perceptual experience are not necessarily included in the sensible properties represented in a perceptual experience. On this basis it is argued that perceptual experience has a disunified metaphysics, consisting in distinct sensory and cognitive components. The account is developed in relation to existing unified and disunified accounts, and discussed in terms of its implications for cognitive penetration, the reliability of introspection, the transparency of experience, and cognitive phenomenology. (shrink)

Why are teleological arguments based on biological phenomena so popular? My explanation is that teleological properties are presented in our experiences of biological phenomena. I contrast this with the view that the attribution of teleological properties to biological phenomena takes place at an intellective level – via inference, and as belief or similar propositional attitude. I suggest five ways in which the experiential view is the better explanation for the popularity of such teleological arguments. Experiential attributions are more (...) easy, impactful, and implastic. The experiential view accommodates cases of conflicting attributions, and it makes sense of the readiness with which we follow such teleological arguments. I respond to objections and explain how my view builds on existing answers to this question found in the philosophical literature. (shrink)

Some theorists have recently raised doubts about much of the experimental evidence purporting to demonstrate the existence of unconscious perception. In our (2019) in this journal, we argued some of these considerations are not decisive. Phillips (forthcoming a) replies thoughtfully to our paper, concluding that he is unconvinced by our arguments. Phillips maintains that the view that perception is invariably conscious remains, as he puts it, the “default” hypothesis both within the folk understanding and experimental study of (...) class='Hi'>perception. There is much to agree with in Phillips’ piece, but there remain some substantive points of disagreement, which we outline here. (shrink)

In our everyday interaction with the environment, we often perceive objects and spaces as opportunities to feel, maintain, enhance, and change our affective states and processes. The concept of affective affordance was coined to accommodate this aspect of ordinary perception and the many ways in which we rely on the material environment to regulate our emo- tions. One natural way to think of affective affordances in emotion regulation is to interpret them as tools for regulating felt affective states. We (...) argue that this way of conceiving of affective affordances is too restrictive. By analyzing the role of expressive properties of objects and spaces in emotion regulation, we show that our environment does not need to elicit felt affective states to regulate our emotions. Thus, we revise the concept of affective affordance to accommodate these cases. This revised concept explains more with less. Hence, it should be preferred in wide-reaching philosophical projects that aim to explain human affectivity as a situated phenomenon. (shrink)

Scholars working on Kant’s Anticipations of Perception generally attribute to him an argument that invalidly infers that objects have degrees of intensive magnitude from the premise that sensations do. I argue that this rests on an incorrect disambiguation of Kant’s use of Empfindung as referring to the mental states that are our sensings, rather than the objects that are thereby sensed. Kant’s real argument runs as follows. The difference between a representation of an empty region of space and/or time (...) and a representation of that same region as occupied by an object entails that, in addition to their extensive magnitude, objects must be represented as having a matter variable in intensive magnitude. Since it is the presence of sensation in a cognition that marks the difference between representing only the extensive magnitude of the object and the object as a whole, it is sensation that represents its intensive magnitude. (shrink)

In this paper, we define projection and bidirectional projection measures between interval rough neutrosophic sets and prove their basic properties. Then two new multi attribute decision making strategies are proposed based on interval rough neutrosophic projection and bidirectional projection measures respectively. Then the proposed methods are applied for solving multi attribute decision making problems. Finally, a numerical example is solved to show the feasibility, applicability and effectiveness of the proposed strategies.

One necessary condition on any adequate account of perception is clarity regarding whether unconscious perception exists. The issue is complicated, and the debate is growing in both philosophy and science. In this paper we consider the case for unconscious perception, offering three primary achievements. First, we offer a discussion of the underspecified notion of central coordinating agency, a notion that is critical for arguments that purportedly perceptual states are not attributable to the individual, and thus not genuinely (...) perceptual. We develop an explication of what it is for a representational state to be available to central coordinating agency for guidance of behavior. Second, drawing on this explication, we place a more careful understanding of the attributability of a state to the individual in the context of a range of empirical work on vision-for-action, saccades, and skilled typing. The results place pressure on the skeptic about unconscious perception. Third, reflecting upon broader philosophical themes running through debates about unconscious perception, we highlight how our discussion places pressure on the view that perception is a manifest kind, rather than a natural kind. In doing so, we resist the tempting complaint that the debate about unconscious perception is merely verbal. (shrink)