Orthodox epistemological disjunctivism involves the idea that paradigm cases of visual perceptual knowledge are based on visual perceptual states which are propositional, and hence representational. Given this, the orthodox version of epistemological disjunctivism takes on controversial representational commitments in the philosophy of perception. Must epistemological disjunctivism involve these commitments? I don’t think so. Here I argue that we can take epistemological disjunctivism in a new direction and develop a version of the view free of these representational commitments. The (...) basic idea is that instead of conceiving of knowledge grounding perceptions as states in which one sees that such-and-such is the case, we should instead conceive of them as states or episodes in which one sees a thing, we should conceive of them as thing-seeings. I’ll suggest that we can cast such seeings in a knowledge grounding role without conceiving of them as representational. But this is because we can put thing-seeings to epistemological work, in the framework of epistemological disjunctivism, whilst remaining neutral on whether or not they are propositional, or representational at all. The point, then, is not to replace epistemological disjunctivism’s controversial representational commitments with controversial non-representational commitments. The point is, rather, that epistemological disjunctivism can be developed with fewer commitments in the philosophy of perception than is usually appreciated. (shrink)

This paper questions two prima facie plausible claims concerning switching in the presence of ambiguous figures. The first is the claim that reversing is an instantaneous process. The second is the claim that the ability to reverse demonstrates the interpretive, inferential and constructive nature of visual processing. Empirical studies show that optical and cerebral events related to switching protract in time in a way that clashes with its perceived instantaneity. The studies further suggest an alternative theory of reversing: according (...) to such alternative, seeing the same thing in multiple ways is a matter of uncovering what is already present to the senses through visual search. (shrink)

This paper explores some surprising effects of psychological trauma on memory and develops the puzzle of observer memory for trauma. Memory for trauma tends to have a third-person perspective, or observer perspective. But it appears observer memory, by having a novel visual point of view, tends to misrepresent the past. And many find it plausible that if a memory type tends to misrepresent, it cannot yield knowledge of, or justification for believing, details of past events. But it is also (...) plausible that, with respect to details of past trauma, observer memory can yield knowledge or justification. I argue for a novel set of views that offers a way out of the puzzle: observer memory does tend to misrepresent, but it still has epistemic power regarding details of the past, although with special limits; but observer memory for trauma has other epistemic powers too, in that it allows for a kind of self-awareness. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness (...) motivates a view of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

Augmented reality (AR) technologies function to ‘augment’ normal perception by superimposing virtual objects onto an agent’s visual field. The philosophy of augmented reality is a small but growing subfield within the philosophy of technology. Existing work in this subfield includes research on the phenomenology of augmented experiences, the metaphysics of virtual objects, and different ethical issues associated with AR systems, including (but not limited to) issues of privacy, property rights, ownership, trust, and informed consent. This paper addresses some epistemological (...) issues posed by AR systems. I focus on a near-future version of AR technology called the Real-World Web, which promises to radically transform the nature of our relationship to digital information by mixing the virtual with the physical. I argue that the Real-World Web (RWW) threatens to exacerbate three existing epistemic problems in the digital age: the problem of digital distraction, the problem of digital deception, and the problem of digital divergence. The RWW is poised to present new versions of these problems in the form of what I call the augmented attention economy, augmented skepticism, and the problem of other augmented minds. The paper draws on a range of empirical research on AR and offers a phenomenological analysis of virtual objects as perceptual affordances to help ground and guide the speculative nature of the discussion. It also considers a few policy-based and designed-based proposals to mitigate the epistemic threats posed by AR technology. (shrink)

In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical function (...) in referring to a specific event. In fact, the boundary between referential use and symbolic-exemplificative use is not always clear-cut, and it often becomes the subject of ideological dispute. The main point that this paper would like to do is that in some circumstances there is a deep-seated belief that images that are clearly misattributed could still be legitimately used to refer to the fact, even if this is not the case. This twisted epistemological stance, that I will summarize under the oxymoronic concept of “emblematic evidence”, is both the product of political and tribal polarization in the ideological debate, and the result of a shift in our understanding of what photographic images should do. (shrink)

It is generally accepted that sight—the capacity to see or to have visual experiences—has the power to give us knowledge about things in the environment and some of their properties in a distinctive way. Seeing the goose on the lake puts me in a position to know that it is there and that it has certain properties. And it does this by, when all goes well, presenting us with these features of the goose. One might even think that it (...) is part of what it is to be a perceptual capacity that it has this kind of epistemological power, such that a capacity that lacked this power could not be perceptual. My focus in this essay is the sense of taste—the capacity to taste things or to have taste experiences. It has sometimes been suggested that taste lacks sight-like epistemological power. I argue that taste has epistemological power of the same kind as does sight, but that as a matter of contingent fact, that power often goes unexercised in our contemporary environment. We can know about things by tasting them in the same kind of way as we can know about things by seeing them, but we often do not. I then consider the significance of this conclusion. I suggest that in one way, it matters little, because our primary interest in taste is not epistemic but aesthetic. But, I end by suggesting, it can matter ethically. (shrink)

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

Maps provide us with an easily recognizable version of the new demarcation problem: On the one hand, we are all familiar with graphics and maps that unacceptably distort our perceptions without being technically inaccurate or fictive; indeed there are whole websites groups devoted to curating such images for fun. On the other hand, there are multiple unavoidably value-laden choices that must be made in the production of any map. Producing a map requires choosing everything from the colors and thicknesses of (...) the lines, the scale, the projection system, the categories and parameters represented, and much more. There is no neutral default for any of these choices, and all of them shape what information the map communicates. All the visual choices involved in producing a map enable some information to be conveyed at the cost of hiding or distorting other information, as map makers themselves routinely acknowledge and discuss. Hence there are no straightforward answers to questions about the line between distortion and legitimate representational choices. I explore three distinctive kinds of epistemic risks in map-making that generate special versions of the demarcation problem, which I dub aesthetic risk, categorization risk, and simplification risk. I argue that in each case, even good maps – maps that are accurate and epistemically valuable – have the potential to mislead us. I end by looking at maps that offer special epistemic benefits by making clear their own lack of value-neutrality while still being accurate and epistemically fecund. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...) well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

In this paper, I argue that visual attention is cognitively penetrated by intention. I present a detailed account of attention and its neural basis, drawing on a recent computational model of neural modulation during attention: divisive normalization. I argue that intention shifts computations during divisive normalization. The epistemic consequences of attentional bias are discussed.

According to an influential philosophical view I call “the relational properties view”, “perspectival” properties, such as the elliptical appearance of a tilted coin, are relational properties of external objects. Philosophers have assessed this view on the basis of phenomenological, epistemological or other purely philosophical considerations. My aim in this paper is to examine whether it is possible to evaluate RPV empirically. In the first, negative part of the paper I consider and reject a certain tempting way of doing so. In (...) the second, positive part of the paper I suggest a novel way of evaluating RPV empirically, relying on the influential object files framework. (shrink)

This article reexamines Vico’s early critique of Cartesian reasoning and of how the Cartesian method, which comes from epistemology, creates problems for the sciences once embedded into their methodologies and given a foundational role. The focus will be on De nostri temporis studiorum ratione (1709), where Vico argues against generalizing the Cartesian method and overemphasizing clarity and distinctness in the search for truth. To this end, Vico’s relation to Cartesianism is first carefully contextualized. Then, Vico is presented as a (...) hylomorphist when it comes to how scientific disciplines and their instruments interrelate, something key for understanding why he questions the “instrumentalization” of the Cartesian method in the first place. Afterwards, Vico’s account of the impossibility of maximal scientific progress when the Cartesian method is prioritized across the sciences is presented, as probabilistic reasoning and the importance of the imagination and memory take centerstage. Lastly, the article looks at Vico’s opposition to the geometrical method’s role in physics and his defense of visual thinking in mathematics. The hope throughout is to advance a picture of the early Vico as being not only a neo- Baconian pragmatist, but a hypermodern ”meta-Cartesian” thinker concerned with humanity’s optimizing its creative potential in order to achieve scientific advances. (shrink)

Bioinformatics scientists often describe their own scientific activities as the practice of working with large amounts of data using computing devices. An essential part of their self-identification is also the development of ways to visually represent the results of this work. Some of these methods are aimed at building convenient representations of data and demonstrating patterns present in them (graphics, diagrams, graphs). Others are ways of visualizing objects that are not directly accessible to human perception (microphotography, X-ray). Both the construction (...) of visualizations and (especially) the creation of new computer visualization methods are considered in bioinformatics as significant scientific achievements. Representations of the three-dimensional structure of protein molecules play a special role in the inquiries of bioinformatics scientists. 3D-visualization of a macromolecule, on the one hand, is, like a graph, a representation of the results of computer processing of data arrays obtained by material methods – spatiotemporal coordinates of structural elements of the molecule. On the other hand, like microphotography, these 3D structures should serve as accurate representations of specific scientific objects. This leads to the parallel existence of two contradictory epistemic regimes: creative arbitrariness in making convenient, communicatively successful models, is combined with commitment to the object “as it really is”. The paradox is reinforced by the fact that the scientific study of objects in question (determining the properties of the structure, its functions, comparison with other structures) by means of computers does not require visualization at all. Its obviously high value for bioinformatics does not look justified if we take into account the prominent artificiality and artistry of the resulting images. However, the status of these images becomes clearer if we relate them to earlier notions of the role of the visual in scientific discovery. The highest estimation of visualization as the final result of scientific research was characteristic of Renaissance science. The artistic representation of ideal essential properties, instead of a strict correspondence to a particular biological object, is an epistemic virtue typical of the naturalists of the 17th and 18th centuries. Both suggested a close collaboration between the scientist and the artist; and standards for visualizing macromolecules in bioinformatics grow out of a similar collaboration (Geis’ drawings). The desire for maximum accuracy and detail inherits the regulation of “mechanical objectivity” (as Daston and Galison put it into words), for which it is also important to eliminate humans from the image production process (in bioinformatics, to transfer these functions to computer programs). Thus, 3D-visualization of protein structures bears traces of historically different value orientations, but the scientific practice of the 20th and 21st centuries, supplemented by computer technologies, allows them to be intertwined in particular disciplinary units. (shrink)

We construct a mathematization of Derridian "arche-writing" and Deleuzian "haecceity." We posit an infinity-categorification of exigency (infinity-exigency), a higher-dimensional visual epistemology (infinity-visual epistemology), and infinity-stack Wittgenstein ladder. We reframe haecceities in terms of diamonds, in the sense of Scholze, and mathematize the haecceity-and-arche-writing reflection as a pro-diamond. As an exercise in infinity-visual epistemology, we validate a diamond infinity-stack time signature and infinity-stack harmony.

We construct a mathematization of Derridian "arche-writing" and Deleuzian "haecceity." We posit an infinity-categorification of exigency (infinity-exigency), a higher-dimensional visual epistemology (infinity-visual epistemology), and infinity-stack Wittgenstein ladder. We reframe haecceities in terms of diamonds, in the sense of Scholze, and mathematize the haecceity-and-arche-writing reflection as a pro-diamond. As an exercise in infinity-visual epistemology, we validate a diamond infinity-stack time signature and infinity-stack harmony.

A blindfolded clairvoyant walks into a room and immediately knows how it is arranged. You walk in and immediately see how it is arranged. Though both of you represent the room as being arranged in the same way, you have different experiences. Your experience doesn’t just represent that the room is arranged a certain way; it also visually presents the very items in the room that make that representation true. Call the felt aspect of your experience made salient by this (...) contrast its presentational phenomenology. Many philosophers have observed that perceptual experiences have presentational phenomenology. In this paper I explore its nature, scope, and significance. I argue that in addition to perceptual experiences, presentational phenomenology can be found in intuitive, introspective, imaginative, and recollective experiences. I also argue that presentational phenomenology is epistemologically significant: it plays a central role in explaining why the experiences that have it justify beliefs and give us knowledge. (shrink)

Suppose our visual experiences immediately justify some of our beliefs about the external world — that is, justify them in a way that does not rely on our having independent reason to hold any background belief. A key question now arises: Which of our beliefs about the external world can be immediately justified by experiences? I address this question in epistemology by doing some philosophy of mind. In particular, I evaluate the following proposal: if your experience e immediately (...) justifies you in believing that p , then (i) e has the content that p , and (ii) e ’s having the content that p is fixed by what it is like to have e . I start by clarifying this proposal and surveying the case in its favour. I then argue against the proposal and develop an alternative. The discussion shows what role visual consciousness plays and does not play in the justification of perceptual beliefs. (shrink)

We often ascribe possibility to the scenes that are displayed by mental or nonmental sensory images. The paper presents a novel argument for thinking that we are prima facie justified in ascribing metaphysical possibility to what is displayed by suitable visual images, and it argues that many of our imagery‐based ascriptions of metaphysical possibility are therefore prima facie justified. Some potential objections to the arguments are discussed, and some potential extensions of them, to cover nonvisual forms of imagery and (...) nonmetaphysical forms of possibility, are endorsed. (shrink)

In this paper, I explore and defend the idea that we have epistemic responsibilities with respect to our visual searches, responsibilities that are far more fine-grained and interesting than the trivial responsibilities to keep our eyes open and “look hard”. In order to have such responsibilities, we must be able to exert fine-grained and interesting forms of control over our visual searches. I present both an intuitive case and an empirical case for thinking that we do, in fact, (...) have such forms of control over our visual searches. I then show how these forms of control can be used to aim the visual beliefs that result from our searches towards various epistemic goals. (shrink)

My contribution to the author meets critics discussion of Pritchard's _Epistemological Disjunctivism_. In this paper, I examine some of the possible motivations for epistemological disjunctivism and look at some of the costs associated with the view. While Pritchard's view seems to be that our visual beliefs constitute knowledge because they're based on reasons, I argue that the claim that visual beliefs are based on reasons or evidence hasn't been sufficiently motivated. In the end I suggest that we'll get (...) all the benefits with none of the costs of epistemological disjunctivism if we accept E=K. (shrink)

[File is the introduction to the monograph] -/- Abstract to monograph -/- How and whether thinking affects perceiving is a deeply important question. Of course it is of scientific interest: to understand the human mind is to understand how we best distinguish its processes, how those processes interact, and what this implies for how and what we may know about the world. And so in the philosopher’s terms, this book is one on both mental architecture and the epistemology of (...) perception. But there is a more human interest. How we make contact with the world, and with one another, is of the most basic of importance. We can make both sensory contact and cognitive contact with the world. The first is traditionally supposed to be determined by the biological nature of our sensory systems, while the second is at least partly determined by us, what we have learned, our experiences, and so on. The most basic claim of the book is that this is mistaken and importantly so. Our sensory contact with the world can also change and in a way that is importantly affected by the cognitive contact that we have, or have had, with the world. Thinking does not just affect perceiving, thinking improves perceiving. If this is true, it changes not only how we should theorize the mind, it changes how we should understand, as individuals, our place in and contact with the world. (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)

One of the most widely recognised intuitions about knowledge is that knowing precludes believing truly as a matter of luck. On Pritchard’s highly influential modal account of epistemic luck, luckily true beliefs are, roughly, those for which there are many close possible worlds in which the same belief formed in the same way is false. My aim is to introduce a new challenge to this account. Starting from the observation—as documented by a number of recent EEG studies—that our capacity to (...) detect visual stimuli fluctuates with the phase of our neural oscillations, I argue that there can be very close possible worlds in which an actual-world detectable stimulus is undetectable. However, this doesn’t diminish our willingness to attribute knowledge in the case that the stimulus is detectable, even when undetectability would result in the same belief formed in the same way being false. As I will argue at length, the modal account appears unable to accommodate this result. (shrink)

There is much to admire in John Pittard’s recent book on the epistemology of disagreement. But here we develop one concern about the role that rational insight plays in his project. Pittard develops and defends a view on which a party to peer disagreement can show substantial partiality to his own view, so long as he enjoys even moderate rational insight into the truth of his view or the cogency of his reasoning for his view. Pittard argues that this (...) may happen in ordinary cases of religious disagreement—cases in which it’s a live skeptical possibility that one is misdescribing his insight, or not having insight at all—and therefore one need not be strongly conciliatory even in the face of peer disagreement. Yet Pittard agrees that one should be strongly conciliatory in cases of disagreement involving, e.g., visual perception and dim rational insight, since the sort of fallible, corrigible evidence involved in such cases may be counterbalanced by symmetrical evidence on the part of one’s disagreeing peer. We worry that there’s an inconsistency here. If it’s unreasonable to show partiality to one’s visual experience (or dim rational insight) in cases like “Horse Race” and “Restaurant Check,” it’s likewise unreasonable to show partiality in religious disagreements to one’s moderate rational insight, fallible and corrigible as it is. (shrink)

Chemical visualizations and models are special kinds of situated, inductive arguments. In this paper, I examine several historical case studies—an archive of images from museums, special collections, and popular magazines—as examples of emergent practices of physical modeling as theoretical play which became the basis for molecular biology and structural chemistry. Specifically, I trace a legacy of visualization tools that starts with Archibald Scott Cooper and Friedrich Kekulé in the late 1800s, crystallizes as material manipulatives in Kekulé’s student Jacobus Henricus Van’t (...) Hoff and his folded paper “toys,” is legitimized in the California lab of Linus Pauling, and is glorified in the popular imaginary with James Watson and Francis Crick’s model of DNA. My tracing then follows several threads into contemporary modeling practices. I ultimately argue that modeling play, originally outside of the boundary of deductive, positivist science, is now an accepted mode of inductive reasoning in these related chemical fields. (shrink)

This paper examines Helmholtz's attempt to use empirical psychology to refute certain of Kant's epistemological positions. Particularly, Helmholtz believed that his work in the psychology of visual perception showed Kant's doctrine of the a priori character of spatial intuition to be in error. Some of Helmholtz's arguments are effective, but this effectiveness derives from his arguments to show the possibility of obtaining evidence that the structure of physical space is non-Euclidean, and these arguments do not depend on his theory (...) of vision. Helmholtz's general attempt to provide an empirical account of the "inferences" of perception is regarded as a failure. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music reducible (...) to symbolic labels that function as names, or is it only music when it sounds? And is music to be considered as an artifact that is out there or as something that must be listened to in order to make sense? Rather than joining these discussions, I propose to broaden the focus and to embrace psychological claims as well. Though psychology is not commonly considered as semiotics’ companion theory of truth, there are points of convergence with respect to the hierarchical arrangement of epistemic interactions with the sounds: there is a lower level processing of sensory input (sensation), a somewhat higher level (perception) which involves a first level of sense-making—mostly at a preverbal level—, and a higher level of sense-making which is commonly labeled as cognition. -/- In what follows I will argue for a cumulative model with lower levels not being substituted by higher ones, but with higher levels being superposed on them. Music, in fact, is a sounding art with the richness of it sonorous unfolding as one of its major characteristics. Music processing, therefore, should keep step with the music as it unfolds over time, in a dynamic tension that does justice to the level of sensation as well as to the listener’s continuous epistemic interactions with the sounds. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

ABSTRACT -/- In this dissertation I make a case for how mental health care, specifically disordered eating, is in need of an adjunctive field of discourse, that being theories on philosophy of consciousness, cosmology, and the new epistemology of science based on physics. Without psychological inquiry and education on new theories about consciousness and new perspectives on the nature of reality, mental health treatment is incomplete and outdated. I bring these topics to the eating disorder field in three ways: (...) by choosing the scientific and philosophical discourse to be added into treatment; by translating the complex and abstract topics into psychologically relevant, lay public coursework; and, finally, through the creation of actual processes that help bring the material into direct experience. The science and philosophy discourse topics that will transform disordered eating are presented through lecture, inquiry for consideration, and discussion options. Consciousness, cosmology, and the new epistemology of science based on physics is simplified with examples of how it can be implemented within individual sessions, group sessions, or workshops for disordered eating treatment and with application to other mental health problems. The psychological application of the material is further enhanced through my description of a variety of experiential processes, from writing assignments and guided visualizations to storytelling, rituals, encounters in nature, and embodiment activities. I have created the lectures, inquiry, and experiential processes within a dynamic body of work, named the Emergence Courses, that have been introduced to professionals treating disordered eating and to clients for use. (shrink)

Bayne and McClelland (2016) raise the matching content challenge for proponents of cognitive phenomenology: if the phenomenal character of thought is determined by its intentional content, why is it that my conscious thought that there is a blue wall before me and my visual perception of a blue wall before me don’t share any phenomenology, despite their matching content? In this paper, I first show that the matching content challenge is not limited to proponents of cognitive phenomenology but extends (...) to cases of cross-modal perception, threatening representationalism about consciousness in general. I then give two responses to the challenge, both of which appeal to intentional modes. The difference in intentional mode between a thought and a visual perception can either explain why we should not expect any phenomenal overlap between the two experiences, or it can make it clear why the phenomenal overlap is easy to overlook. I show that these responses are available to the representationalist about perceptual consciousness, as well as the proponent of cognitive phenomenology. The upshot is that, when it comes to the matching content challenge, both perceptual representationalism and cognitive representationalism stand on equal dialectical footing. (shrink)

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

Suppose that a physical duplicate of me, right down to the arrangements of subatomic particles, comes into existence at the time at which I finish this sentence. Suppose that it comes into existence by chance, or at least by a causal process entirely unconnected with me. It might be so situated that it, too, is seated in front of a computer, and finishes this paragraph and paper, or a corresponding one, just as I do. (i) Would it have the same (...) thoughts I do? (ii) Would it speak my language? (iii) Would my duplicate have any thoughts or (iv) speak any language at all? To fix the interpretation of these questions, I will take ‘thought’ to cover any mental state which has a representational content, where ‘representational content’ is intended to be neutral with respect to psychological mode. By 'psychological mode' I mean what distinguishes kinds of thoughts, such as belief, visual perceptual experience, desire, etc. Representational content, or thought content, as I will also say, determines the conditions under which a thought is true or false, veridical or non-veridical, or, more broadly, is satisfied or fails to be satisfied, independently of relativization to circumstances, possible worlds, or the like. Beliefs, desires, hopes, intentions, and perceptual experiences will all count as thoughts on this usage. The question whether one person has the same (type of) thought as another is the question whether both have a mental state with the same representational content in the same psychological mode. I will not count epistemic verbs, however, as picking out or expressing a (pure) psychological mode. Thus, although knowing that the time is ripe, seeing that there is a goldfinch in the garden, and remembering that my wife’s birthday is next Tuesday are all thoughts, they do not pick out the thoughts by using a verb that expresses a psychological mode. Therefore knowing, seeing or remembering the same things is not a requirement on having the same thoughts.. (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)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in (...) Human Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Philosophers of perception frequently assume that we see actual states of affairs, or facts. Call this claim factualism. In his book, William Fish suggests that factualism is supported by phenomenological observation as well as by experimental studies on multiple object tracking and dynamic feature-object integration. In this paper, I examine the alleged evidence for factualism, focusing mainly on object detection and tracking. I argue that there is no scientific evidence for factualism. This conclusion has implications for studies on the phenomenology (...) and epistemology of visual perception. (shrink)

Introduction -/- 1 Précis -/- 2 Methodology: Introducing digital humanities to the history of philosophy 2.1 Introduction 2.2 Core constructs 2.3 Operationalizing the constructs 2.4 Querying the Nietzsche Source 2.5 Cleaning the data 2.6 Visualizations and preliminary analysis 2.6.1 Visualization of the whole corpus 2.6.2 Book visualizations 2.7 Summary -/- Nietzsche’s Socio-Moral Framework -/- 3 From instincts and drives to types 3.1 Introduction 3.2 The state of the art on drives, instincts, and types 3.2.1 Drives 3.2.2 Instincts 3.2.3 Types 3.3 (...) The semantic neighborhood of drive, instinct, and type 3.4 A theory of (the relations among) instincts, drives, and types 3.4.1 Drives are act-directed rather than outcome-directed dispositions 3.4.2 The reflexive turn in Nietzsche’s drive psychology 3.4.3 Triggers of drive-displacement 3.4.4 Instincts are innate drives 3.4.5 Types are constellations of instincts and other drives 3.4.6 To what extent are types, instincts, and drives fixed? 3.5 Summary -/- 4 From types to virtues 4.1 Introduction 4.2 The state of the art on virtues and values 4.2.1 Virtues 4.2.2 Values 4.3 The semantic neighborhood of virtue and value 4.4 On (the relations among) instincts, drives, types, values, virtues, and values 4.4.1 Virtues are well-calibrated drives 4.4.2 Nietzsche’s type-relative unity of virtue thesis 4.4.3 The type of the criminal 4.4.4 Nietzschean exemplarism and his ad hominem attacks 4.5 Summary -/- 5 Socializing Nietzschean virtues 5.1 Introduction 5.2 Higher-order types 5.2.1 Social character construction 5.2.2 Reflexive character construction 5.3 Eponymous trait terms and Nietzschean summoning 5.3.1 Eponymous trait terms 5.3.2 Nietzschean summoning 5.4 Summary -/- Nietzschean virtues -/- 6 Curiosity 6.1 Introduction 6.2 Curiosity in virtue epistemology 6.3 Curiosity and its affiliated emotions 6.4 Curiosity, perspectivism, and inquiry 6.5 Curiosity as a virtue 6.5.1 A preliminary characterization 6.5.2 Curiosity in the middle through late works 6.6 Summary -/- 7 Courage 7.1 Introduction 7.2 Intellectual courage in contemporary virtue epistemology 7.3 Courage as a virtue 7.3.1 A preliminary characterization 7.3.2 Courage in the middle through late works 7.4 Summary -/- 8 Pathos of distance 8.1 Introduction 8.2 Contempt and disgust in contemporary moral psychology 8.3 The semantic neighborhood of contempt, disgust, and the pathos of distance 8.4 Nietzsche on contempt 8.4.1 Spernere mundum 8.4.2 Spernere neminem 8.4.3 Spernere se ipsum 8.4.4 Spernere se sperni 8.4.5 Nietzsche aims to induce what he considers fitting contempt in receptive readers 8.5 Nietzsche on disgust 8.5.1 The use of disgust: detaching from an ideal 8.5.2 The danger of disgust 8.6 The pathos of distance 8.7 Prospects for a Nietzschean democratic ethos 8.8 Summary -/- 9 Sense of humor 9.1 Introduction 9.2 The semantic neighborhood of laughter, humor, and comedy 9.3 The Nietzschean sense of humor and its functions 9.3.1 From episodic laughter to the sense of humor 9.3.2 Affirmation and inquiry 9.3.3 Negation and inquiry 9.3.4 Affiliation with like-minded inquirers 9.4 Summary -/- 10 Solitude 10.1 Introduction 10.2 Solitude in virtue theory and Nietzsche scholarship 10.3 The semantic neighborhood of solitude 10.4 An account of Nietzschean solitude 10.5 Summary -/- Conclusion -/- 11 Conscience & integrity 11.1 Introduction 11.2 Conscience and integrity in contemporary moral psychology and Nietzsche scholarship 11.2.1 Conscience and integrity in contemporary moral psychology 11.2.2 Conscience and integrity in Nietzsche commentary 11.3 The semantic neighborhood of conscience and integrity 11.4 Distinguishing conscience, good conscience, bad conscience, and intellectual conscience 11.4.1 Conscience 11.4.2 Good conscience 11.4.3 Bad conscience 11.4.4 Intellectual conscience and integrity 11.5 Summary -/- 12 Prospectus 12.1 Future directions in moral psychology 12.2 Future directions in Nietzsche scholarship 12.3 Future directions in digital humanities and the history of philosophy . (shrink)

Perceptual experiences are not immediately responsive to reasons. You see a stick submerged in a glass of water as bent no matter how much you know about light refraction. Due to this isolation from reasons, perception is traditionally considered outside the scope of epistemic evaluability as justified or unjustified. Is perception really as independent from reasons as visual illusions make it out to be? I argue no, drawing on psychological evidence from perceptual learning. The flexibility of perceptual learning is (...) a way of responding to new epistemic reasons. The resulting perceptual experiences are epistemically evaluable as justified or unjustified. (shrink)

According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, your immediate perceptual evidence is limited to facts about your own visual experience, from which conclusions about the external world must be inferred. Cartesianism faces well-known skeptical challenges. But this chapter argues that any anti-Cartesian view strong enough to avoid these challenges must license a way of updating one’s beliefs in response to anticipated experiences that seems diachronically (...) irrational. To avoid this result, the anti-Cartesian must either license an unacceptable epistemic chauvinism, or else claim that merely reflecting on one’s experiences defeats perceptual justification. This leaves us with a puzzle: Although Cartesianism faces problems, avoiding them brings a new set of problems. (shrink)

The standard, foundationalist reading of Our Knowledge of the External World requires Russell to have a view of perceptual acquaintance that he demonstrably does not have. Russell’s actual purpose in “constructing” physical bodies out of sense-data is instead to show that psychology and physics are consistent. But how seriously engaged was Russell with actual psychology? I show that OKEW makes some non-trivial assumptions about the character of visual space, and I argue that he drew those assumptions from William James’s (...) Principles. This point helps us take a fresh look at the complex relationship between the two men. In light of this surprising background of agreement, I highlight ways their more general approaches to perception finally diverged in ways that put the two at epistemological odds. (shrink)

Skilled action typically requires that individuals guide their activities toward some goal. In skilled action, individuals do so excellently. We do not understand well what this capacity to guide consists in. In this paper I provide a case study of how individuals shift visual attention. Their capacity to guide visual attention toward some goal (partly) consists in an empirically discovered sub-system – the executive system. I argue that we can explain how individuals guide by appealing to the operation (...) of this sub-system. Understanding skill and skilled action thus requires appreciating the role of the executive system. (shrink)

"Richard Burthogge's Conceptualism and Its Origins in the Medieval Perspectivist Optics" The paper aims to analyse the historical determinants of the conceptualist argument for epistemological idealism made by the seventeenth-century English philosopher Richard Burthogge. The crux of this argument, unprecedented in earlier philosophy, is an attempt to prove the inherent inadequacy of human cognition from the divergence between the general concepts and the extra-mental singulars. At the same time, Burthogge considers the relationship between the universal and the particular to be (...) analogous to the relation between the visual image and the thing. I argue that, as suggested by certain significant aspects of Burthogge’s theory, it was medieval perspectivist optics that had decisively influenced the conception of visual cognition, which provided the basis for this analogy and, consequently, for the conceptualist argument itself. (shrink)

According to the recent Perceptual Confidence view, perceptual experiences possess not only a representational content, but also a degree of confidence in that content. The motivations for this view are partly phenomenological and partly epistemic. We discuss both the phenomenological and epistemic motivations for the view, and the resulting account of the interface between perceptual experiences and degrees of belief. We conclude that, in their present state of development, orthodox accounts of perceptual experience are still to be favoured over the (...) perceptual confidence view. (shrink)

It is widely accepted that physicalism faces its most serious challenge when it comes to making room for the phenomenal character of psychological experience, its so-called what-it-is-like aspect. The challenge has surfaced repeatedly over the past two decades in a variety of forms. In a particularly striking one, Frank Jackson considers a situation in which Mary, a brilliant scientist who knows all the physical facts there are to know about psychological experience, has spent the whole of her life in a (...) black and white room. He asks, What will happen when Mary is released from her black and white room or is given a colour television monitor? Will she learn anything or not? It seems just obvious that she will learn something about the world and our visual experience of it. But then it is inescapable that her previous knowledge was incomplete. But she had all the physical information. (Jackson 1986: 130). (shrink)

The theory-ladenness of perception argument is not an argument at all. It is two clusters of arguments. The first cluster is empirical. These arguments typically begin with a discussion of one or more of the following psychological phenomena: (a) the conceptual penetrability of the visual system, (b) voluntary perceptual reversal of ambiguous figures, (c) adaptation to distorting lenses, or (d) expectation effects. From this evidence, proponents of theory-ladenness typically conclude that perception is in some sense "laden" with theory. The (...) second cluster attempts to extract deep epistemological lessons from this putative fact. Some philosophers conclude that science is not (in any traditional sense) a rational activity, while others conclude that we must radically reconceptualize what scientific rationality involves. Once we understand the structure of these arguments, much conventional wisdom about the significance of the psychological data turns out to be false. (shrink)

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

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology (...) fomented Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)