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)

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)

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 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)

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)

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)

Color relationalism holds that the colors are constituted by relations to subjects. The introspective rejoinder against this view claims that it is opposed to our phenomenally-informed, pre-theoretic intuitions. The rejoinder seems to be correct about how colors appear when looking at how participants respond to an item about the metaphysical nature of color but not when looking at an item about the ascription of colors. The present article expands the properties investigated to sound and taste and inspects the mentioned asymmetry, (...) with a particular focus on the principle of charity. Using a metaphysical item, we find that color and sound are no different from shape, our control for a clearly anti-relational property. Taste, on the other hand, is no different from likability, our control for a clearly relational property. Importantly, we find that the disparity between metaphysical and ascription items is due to participants using a principle of charity to interpret disagreement cases such that both parties can be correct. (shrink)

The fact that you see some particular object seems to be due to the causal relation between your visual experience and that object, rather than to your experiences’ phenomenal character. On the one hand, whenever some phenomenal element of your experience stands in the right sort of causal relation to some object, your experience presents that object (your experience’s phenomenology doesn’t need to match that object). On the other hand, you can’t have a perceptual experience that presents some object unless (...) you stand in the right sort of causal relation to that object (no matter how closely your experience’s phenomenology matches some object). According to the continuity thesis, property perception is similar to object perception in these two respects. A standard reason to reject the continuity thesis is the assumption that the environmental properties that a perceptual experience presents are determined by its phenomenal properties (which are not determined by the environmental properties that cause the experience). I maintain that the continuity thesis is false but for a different reason: perceptual experiences present both objects and properties via manners of presentation; but, whereas perceptual manners of presentation for objects are purely relational, perceptual manners of presentation for properties are satisfactional. (shrink)

The aim of this paper is to reconstruct Geiger’s realist and Wollheim’s projectionist accounts on expressive properties and expressive perception by considering them within the larger contexts from which they emerged, by using as far as possible a common language and by focusing on the questions of the nature of expressive properties and of how we grasp them. My aim is to show that it is possible to put into dialogue phenomenological and Anglo-American aesthetics and that this dialogue might (...) lead to new insights about how we engage with art. (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)

When we perceive an object, we perceive the object from a perspective. As a consequence of the perspectival nature of perception, when we perceive, say, a circular coin from different angles, there is a respect in which the coin looks circular throughout, but also a respect in which the coin's appearance changes. More generally, perception of shape and size properties has both a constant aspect—an aspect that remains stable across changes in perspective—and a perspectival aspect—an aspect that changes (...) depending on one's perspective on the object. How should we account for the perspectival aspect of spatial perception? We present a framework within which to discuss the perspectival aspect of perception and put forward three desiderata that any account of the perspectival aspect of perception should satisfy. We discuss views on which the perspectival aspect of perception is analyzed in terms of constitutively mind-dependent appearance properties as well as views on which the perspectival aspect of perception is analyzed in terms of representations of mind-independent perspectival properties. (shrink)

Here are four examples of “seeing.” You see that something green is wriggling. You see that an iguana is in distress. You see that someone is wrongfully harming an iguana. You see that torturing animals is wrong. The first is an example of low-level perception. You visually represent color and motion. The second is an example of high-level perception. You visually represent kind properties and mental properties. The third is an example of moral perception. You have an (...) impression of moral properties. The fourth is an example of intuition. You intellectually grasp a general moral truth. Should moral perceptions be thought of as high-level perceptions or as intuitions? Most proponents of moral perception have thought of them as high-level perceptions. I give epistemological and methodological reasons for thinking that at least some are examples of what I call low-level intuitions—experiences in which we both apprehend abstract generalities and apply them to concrete particulars. (shrink)

Traditional accounts of the perception/cognition divide tend to draw it in terms of subpersonal psychological processes, processes into which the subject has no first-person insight. Whatever betides such accounts, there seems to also be some first-personally accessible difference between perception and thought. At least in normal circumstances, naïve subjects can typically tell apart their perceptual states from their cognitive or intellectual ones. What are such subjects picking up on when they do so? This paper is an inconclusive search (...) for an answer. At its end, I conclude, without joy, that we may have to simply accept the perception/cognition distinction as a primitive and inexplicable bright line within the sphere of conscious phenomena. (shrink)

This paper argues that a common form of representationalism has trouble accommodating empirical findings about visual space perception. Vision science tells us that the visual system systematically gives rise to different experiences of the same spatial property. This, combined with a naturalistic account of content, suggests that the same spatial property can have different veridical looks. I use this to argue that a common form of representationalism about spatial experience must be rejected. I conclude by considering alternatives (...) to this view. (shrink)

Recently, a number of philosophers have argued that property illusions—cases in which we perceive a property, but that property is not the property it seems to us to be in virtue of our perceptual experience—and veridical illusions—cases in which we veridically perceive an object’s properties, but our experience of some specific property is nonetheless unsuccessful or illusory—can occur. I defend the contrary view. First, I maintain that there are compelling reasons to conclude that property (...) illusions and veridical illusions can’t occur; and second, I maintain that the considerations supporting the possibility of such cases are uncompelling. (shrink)

What method should we use to determine the nature of perceptual experience? My focus here is the Kantian thought that transcendental arguments can be used to determine the nature of perceptual experience. I set out a dilemma for the use of transcendental arguments in the philosophy of perception, one which turns on a comparison ofthe transcendental method with the first-personal method of early analytic philosophy, and with the empirical methods of much contemporary philosophy of mind. The transcendental method can (...) avoid this dilemma only if it commits to our possessing a capacity for imaginative reflection, one which is capable of identifying certain formal properties of experience.This result indicates some of the commitments which must be made if transcendental arguments are to be used in the philosophy of perception, and it has implications for those views that take the philosophy of perception to be autonomous of the empirical science of perception. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? (...) The second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

The outlines of a novel, fully naturalistic theory of perception are provided, that can explain perception of an object X by organism Z in terms of reflexive causality. On the reflexive view proposed, organism Z perceives object or property X just in case X causes Z to acquire causal dispositions reflexively directed back upon X itself. This broadly functionalist theory is potentially capable of explaining both perceptual representation and perceptual content in purely causal terms, making no use (...) of informational concepts. However, such a reflexive, naturalistic causal theory must compete with well entrenched, supposedly equally naturalistic theories of perception that are based on some concept of information, so the paper also includes some basic logical, naturalistic and explanatory criticisms of such informational views. (shrink)

Predictive approaches to the mind claim that perception, cognition, and action can be understood in terms of a single framework: a hierarchy of Bayesian models employing the computational strategy of predictive coding. Proponents of this view disagree, however, over the extent to which perception is direct on the predictive approach. I argue that we can resolve these disagreements by identifying three distinct notions of perceptual directness: psychological, metaphysical, and epistemological. I propose that perception is plausibly construed as (...) psychologically indirect on the predictive approach, in the sense of being constructivist or inferential. It would be wrong to conclude from this, however, that perception is therefore indirect in a metaphysical or epistemological sense on the predictive approach. In the metaphysical case, claims about the inferential properties of constructivist perceptual mechanisms are consistent with both direct and indirect solutions to the metaphysical problem of perception (e.g. naïve realism, representationalism, sense datum theory). In the epistemological case, claims about the inferential properties of constructivist perceptual mechanisms are consistent with both direct and indirect approaches to the justification of perceptual belief. In this paper, I demonstrate how proponents of the predictive approach have conflated these distinct notions of perceptual directness and indirectness, and I propose alternative strategies for developing the philosophical consequences of the approach. (shrink)

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 reallyseean 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: weseeobjects 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 propertiesperceptually. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. (...) I offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

What is the connection between having a phenomenal property and knowing that one has that property? A traditional view on the matter takes the connection to be quite intimate. Whenever one has a phenomenal property, one knows that one does. Recently most authors have denied this traditional view. The goal of this paper is to defend the traditional view. In fact, I will defend something much stronger: I will argue that what it is for a property (...) to be phenomenal is for it to be a property one must know oneself to have when on has it. As we will see, this theory has a number of surprising and welcome upshots, suggesting that the traditional view has been unjustly maligned. (shrink)

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)

You can perceive things, in many respects, as they really are. For example, you can correctly see a coin as circular from most angles. Nonetheless, your perception of the world is perspectival. The coin looks different when slanted than when head-on, and there is some respect in which the slanted coin looks similar to a head-on ellipse. Many hold that perception is perspectival because you perceive certain properties that correspond to the “looks” of things. I argue that this (...) view is misguided. I consider the two standard versions of this view. What I call the PLURALIST APPROACH fails to give a unified account of the perspectival character of perception, while what I call the PERSPECTIVAL PROPERTIES APPROACH violates central commitments of contemporary psychology. I propose instead that perception is perspectival because of the way perceptual states are structured from their parts. (shrink)

For successful climate change adaptation, the distribution of responsibility within society is an important question. While the literature highlights the need for involving both public and private actors, little is still known of how citizens perceive their own and others’ responsibility, let alone the moral groundings for such perceptions. In this paper, we report the results of a survey regarding people’s attitudes towards different ways of distributing responsibility for climate change adaptation. The survey was distributed to citizens in six Swedish (...) municipalities and completed by 510 respondents. A large number of respondents wanted to assign responsibility for making decisions about and implementing adaptation measures to local governments, but also to property owners, whereas the national government was raised as responsible for setting decision boundaries and for financial support. The most preferred principles for a fair distribution of responsibility among the respondents were desert, ability, efficiency and need, while the principle of equal shares found less support. All principles received some support, indicating that it is necessary to consider several principles when distributing responsibility for climate change adaptation. Compared to earlier studies, this study shows more nuanced perceptions on who should be responsible and on what moral grounds. (shrink)

I argue that perception is necessarily situation-dependent. The way an object is must not just be distinguished from the way it appears and the way it is represented, but also from the way it is presented given the situational features. First, I argue that the way an object is presented is best understood in terms of external, mind-independent, but situation-dependent properties of objects. Situation-dependent properties are exclusively sensitive to and ontologically dependent on the intrinsic properties of objects, such as (...) their shape, size, and color, and the situational features, such as the lighting conditions and the perceiver’s location in relation to the perceived object. Second, I argue that perceiving intrinsic properties is epistemically dependent on representing situation-dependent properties. Recognizing situation-dependent properties yields four advantages. It makes it possible to embrace the motivations that lead to phenomenalism and indirect realism by recognizing that objects are presented a certain way, while holding on to the intuition that subjects directly perceive objects. Second, it acknowledges that perceptions are not just individuated by the objects they are of, but by the ways those objects are presented given the situational features. Third, it allows for a way to accommodate the fact that there is a wide range of viewing conditions or situational features that can count as normal. Finally, it makes it possible to distinguish perception and thought about the same object with regard to what is represented. (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)

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)

The center of this investigation is the hard problem of phenomenal perception. To be clear, hereby it is thought of higher animals; accordingly the problem of Human consciousness will explicitly not be treated. The so-called explanatory gap (Levine), i.e. missing a neural explanation of experiences, here is emergence-theoretically countered: It is argued that systems own properties and laws different from those of their components. Applied to the brain the phenomenal character of perception is explained as an emergence effect (...) from the systemic cooperation of perception, valuation and behavior, whereby also an interpretation is opened to Davidson’s anomal monism. As is further shown, feelings are to be understood as a necessary completion of perception when, as in the case of higher animals, the behavior is primarily controlled by phenomenal perception. (shrink)

It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures (...) in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)

Moral perception has made something of a comeback in recent work on moral epistemology. Many traditional objections to the view have been argued to fail upon closer inspection. But it remains an open question just how far moral perception might extend. In this paper, I provide the beginnings of an answer to this question by assessing the relationship between the metaphysical structure of different normative properties and a plausible constraint on which properties are eligible for perceptual awareness which (...) I call the Counterfactual Strengthening Test. Along the way I consider and reject a few other possible constraints on perceptual awareness. I defend the view that moral perception is restricted to the perception of evaluative and pro tanto deontic properties. I conclude with a few gestures toward what this limitation on moral perception may mean for broader moral epistemology. (shrink)

Hermann von Helmholtz’s work on perceptual science had a fundamental impact on Neo-Kantian movements in the late nineteenth century, and his influence continues to be felt in psychology and analytic philosophy of perception. As is widely acknowledged, Helmholtz denied that we can perceive mind-independent properties of external objects, a view I label Ignorance. Given his commitment to Ignorance, Helmholtz might seem to be committed to a subjectivism according to which we only perceive properties of our own representations. Against this, (...) I argue that for Helmholtz, the properties we perceive are not monadic properties of either the subject or the object. Rather, Helmholtz endorsed a relationalism about the properties we perceive: the properties of objects we perceive are all relational properties. I then suggest that once we take into account oft-neglected terminological distinctions in Helmholtz’s corpus, we are better able to make sense of his commitment to relationalism. (shrink)

Touch is standardly taken to be a proximal sense, principally constituted by capacities to detect proximal pressure and thermal stimulation, and contrasted with the distal senses of vision and audition. It has, however, recently been argued that the scope of touch extends beyond proximal perception; touch can connect us to distal objects. Hence touch generally should be thought of as a connection sense. In this paper, I argue that whereas pressure perception is a connection sense, thermal perception (...) is not. Thermal perception is a proximal sense distinct from touch. One significant consequence of this is that it motivates an alternative explanation of how we detect the thermal properties of the things we touch and what they are. (shrink)

According to the perceptual theory of emotions, emotions are perceptions of evaluative properties. The account has recently faced a barrage of criticism recently by critics who point out varies disanalogies between emotion and paradigmatic perceptual experiences. What many theorists fail to note however, is that many of the disanalogies that have been raised to exclude emotions from being perceptual states that represent evaluative properties have also been used to exclude high-level properties from appearing in the content of perception. This (...) suggests that emotions are perceptions of high level properties and perceptual theorists can marshal the arguments used by proponents of high-level perception to defend the perceptual theory. This paper therefore defends an account of emotion as high-level perception. (shrink)

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)

An introduction to contemporary debates in philosophy of perception.

Taken at face value, the picture of reality suggested by modern science seems radically opposed to the world as we perceive it through our senses. Indeed, it is not uncommon to hear scientists and others claim that much of our perceptual experience is a kind of pervasive illusion rather than a faithful presentation of various aspects of reality. On this view, familiar properties such as colours and solidity, to take just two examples, do not belong to external objects, but are (...) fictions generated by the brain that we mistakenly ascribe to the world around us. Contrary to this view, I argue that properties like colour and solidity are as much a part of the fabric of reality as gravity and electrons, and that our scientific and common-sense world views are not as opposed to one another as it might first appear. (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)

This chapter concerns the cognitive penetration of the visual experience of colour. Alleged cases of cognitively penetrated colour perception are of special import since they concern an uncontroversial type of visual experience. All theorists of perception agree that colour properties figure properly in the content or presentation of visual perception, even though not all parties agree that pine trees or causes or other "high-level" properties can figure properly in visual content or presentation. So an alleged case of (...) this kind does not require controversial commitments regarding the admissible contents of visual perception. The chapter clarifies this theoretical importance , identifying alleged empirical cases of cognitively penetrated colour perception, and then analyzing the implications of such cases for an epistemology of perception. (shrink)

The many-property problem has traditionally been taken to show that the adverbial theory of perception is untenable. This paper first shows that several widely accepted views concerning the nature of perception---including both representational and non-representational views---likewise face the many-property problem. It then presents a solution to the many-property problem for these views, but goes on to show how this solution can be adapted to provide a novel, fully compositional solution to the many-property problem for (...) adverbialism. Thus, with respect to the many-property problem, adverbialism and several widely accepted views in the philosophy of perception are on a par, and the problem is solved. (shrink)

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition (...) has it that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

It seems intuitively obvious that metameric matching of color samples entails a loss of information, for spectrophotometrically diverse materials appear the same. This intuition implicitly relies on a conception of the function of color vision and on a related conception of how color samples should be individuated. It assumes that the function of color vision is to distinguish among spectral energy distributions, and that color samples should be individuated by their physical properties. I challenge these assumptions by articulating a different (...) conception of the function of color vision, according to which color vision serves to partition object surfaces into discrimination classes. (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)

One of Brian Loar’s most central contributions to contemporary philosophy of mind is the notion of phenomenal intentionality: a kind of intentional directedness fully grounded in phenomenal character. Proponents of phenomenal intentionality typically also endorse the idea of cognitive phenomenology: a sui generis phenomenal character of cognitive states such as thoughts and judgments that grounds these states’ intentional directedness. This combination creates a challenge, though: namely, how to account for the manifest phenomenological difference between perception and cognition. In this (...) paper, I argue that there is in fact no obvious account of this difference. I consider three main approaches: in terms of high-level vs. low-level contents, of conceptual vs. nonconceptual content, and of propositional vs. objectual content. After arguing against each, I conclude by considering the phenomenal-intentionalist’s options moving forward. (shrink)

The Whorfian hypothesis has received support from recent findings in psychology, linguistics, and anthropology. This evidence has been interpreted as supporting the view that language modulates all stages of perception and cognition, in accordance with Whorf’s original proposal. In light of a much broader body of evidence on time perception, I propose to evaluate these findings with respect to their scope. When assessed collectively, the entire body of evidence on time perception shows that the Whorfian hypothesis has (...) a limited scope and that it does not affect early stages of time perception. In particular, all the available evidence shows that the scope of language modulation is limited in the case of time perception, and that the most important mechanisms for time perception are cognitive clocks and simultaneity windows, which we use to perceive the temporal properties of events. Language modulation has distorting effects, but only at later stages of processing or with respect to specific categorization tasks. The paper explains what is the role of these effects in the context of all the available evidence on time cognition and perception. (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 (...) class='Hi'>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)

This essay explains Donald Hoffman's Interface Theory of Perception using The Biological Framework for a Mathematical Universe proposed by Ronald Williams. According to Hoffman, what we perceive is more like a “desktop interface with icons representing complex underlying processes, rather than a direct window into the true nature of the world." The theory of a biological framework for a mathematical universes suggests that these complex underlying processes of “the desktop interface with icons” contain correspondences to biological systems. For example, (...) “the desktop icons” of the ocean’s arctic currents and the melting and freezing of Antartica contain “complex underlying processes” which mirror the processes of a circulatory system and beating heart. While indeed we do interpret reality from a superficial perspective as Hoffman suggests, our cognitive abilities are enhanced enough to recognize correspondences to these patterns pertaining to these biological systems which reveal the true nature of the world/universe/reality and thus highlight our evolved perceptual systems which can enable us how to recognize these patterns and organize ourselves to them in order to best survive it. Another example of a “desktop icon” is human society—the order and properties of human society contain “complex underlying processes” that are analogous to the order and properties of cellular society—thus “socioeconomic problems” can be understood through cellular economic problems. Moreover, the solution to the cellular economic problem is the solution to the socioeconomic problem. (shrink)

In this paper I will try to trace a discussion about status of art in some recent theories, which pay special attention to the fact that artworks are the kind of things to which representational, expressive, and aesthetic properties are ascribed. First, I will briefly mention some already established criticisms—developed by Richard Wollheim1—against the idea that artworks cannot be identified with physical objects. These criticisms have the further aim of providing an account of art experience that includes our perceiving representational (...) and expressive properties as well as aesthetic ones in artworks. In Wollheim's view, a misconstruction of the nature of these properties and of our perception of them in artworks has been the main reason for the view he intensely criticizes. Thus, he offers a different understanding of these properties, which also involves a new account of perception that does not require an idealisation of our experience of art. (shrink)

Happiness, like other basic emotions, has visual properties that create the conditions for happiness to be perceived in others. This is to say that happiness is perceivable. Its visual properties are to be identified with those facial expressions that are characteristic of happiness. Yet saying that something is perceivable does not suffice for us to conclude that it is perceived. We therefore need to show that happiness is perceived. Empirical evidence suggests that the visual system functions to perceive happiness as (...) well as other basic emotions. Experiences that can be had simply by virtue of how the perceptual system functions are known as observations. I will thus argue that visual experiences in which we become aware of others’ happiness are observations. This approach will provide the necessary conceptual framework to show that we have perceptual knowledge of others’ happiness. (shrink)

The task of visual search is to determine as rapidly as possible whether a target item is present or absent in a display. Rapidly detected items are thought to contain features that correspond to primitive elements in the human visual system. In previous theories, it has been assumed that visual search is based on simple two-dimensional features in the image. However, visual search also has access to another level of representation, one that describes properties in the corresponding three-dimensional scene. Among (...) these properties are three dimensionality and the direction of lighting, but not viewing direction. These findings imply that the parallel processes of early vision are much more sophisticated than previously assumed. (shrink)

Common everyday materials such as textiles, foodstuffs, soil or skin can have complex, mutable and varied appearances. Under typical viewing conditions, most observers can visually recognize materials effortlessly, and determine many of their properties without touching them. Visual material perception raises many fascinating questions for vision researchers, neuroscientists and philosophers, yet has received little attention compared to the perception of color or shape. Here we discuss some of the challenges that material perception raises and argue that further (...) philosophical thought should be directed to how we see materials. (shrink)