Both philosophers of perception and analytic metaphysicians apply the tropes/universals distinction when considering the ontological status of visual properties. One way of arguing in favor of the trope interpretation of visual properties is to claim that the way in which we visually experience properties makes it plausible to characterize them as tropes. In this paper, I argue for a different position, namely that the way in which we visually experience properties provides a serious challenge for the trope interpretation, (...) but not for an interpretation in terms of universals. More specifically, I claim that the trope interpretations of visual properties have problems accounting for the fact that ordinary, veridical visual experiences can present the properties of two objects as strictly similar. (shrink)

A review of Michael Madary's book Visual Phenomenology.

In his remarkable book, Visual Phenomenology, Michael Madary argues for the claim that “visual perception is an ongoing process of anticipation and fulfillment” (Madary 2017, p. 3), by drawing upon lines of evidence from Husserlian phenomenology, philosophy of perception, and the cognitive sciences. While he considers Edmund Husserl as a major influence upon his ideas, he does not aim to adhere to Husserl’s views in every regard, but instead to develop Husserl-inspired views of his own, muster (...) support for them, and bring them to bear on various issues (Ibid., pp. 4, 181). His book is therefore likely to be of interest not only to scholars of Husserlian phenomenology, but also to non-Husserlian philosophers of perception, as well as to cognitive scientists. (shrink)

Both introspection and empirical studies suggest that visual attention can affect the phenomenology of our visual experience. However, the exact character of such effects is far from clear. My aim in this chapter is to spell out the main difficulties involved in attempting to achieve a clearer view of these effects, and to make some suggestions as to how we can make progress with this issue while avoiding tempting mistakes. I do this by discussing the question of (...) whether there is a sense in which attention to a seen object can be said to contribute to the object’s visual phenomenal salience. It is often suggested that focusing visual attention on a seen object renders the object phenomenally salient. I look at potential evidence for this suggestion, and consider what form, if any, of visual phenomenal salience it may support. (shrink)

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with those objects (...) and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

A common objection to representationalism is that a representationalist view of phenomenal character cannot accommodate the effects that shifts in covert attention have on visual phenomenology: covert attention can make items more visually prominent than they would otherwise be without altering the content of visual experience. Recent empirical work on attention casts doubt on previous attempts to advance this type of objection to representationalism and it also points the way to an alternative development of the objection.

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that phenomenological argumentation (...) can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible. (shrink)

This paper proposes a classificatory framework for disjunctivism about the phenomenology of visual perceptual experience. Disjunctivism of this sort is typically divided into positive and negative disjunctivism. This distinction successfully reflects the disagreement amongst disjunctivists regarding the explanatory status of the introspective indiscriminability of veridical perception and hallucination. However, it is unsatisfactory in two respects. First, it cannot accommodate eliminativism about the phenomenology of hallucination. Second, the class of positive disjunctivism is too coarse-grained to provide an informative (...) overview of the current dialectical landscape. Given this, I propose a classificatory framework which preserves the positive-negative distinction, but which also includes the distinction between eliminativism and non-eliminativism, as well as a distinction between two subclasses of positive disjunctivism. In describing each class in detail, I specify who takes up each position in the existing literature, and demonstrate that this classificatory framework can disambiguate some existing disjunctivist views. (shrink)

Sensorimotor expectations concern how visual experience covaries with bodily movement. Sensorimotor theorists argue from such expectations to the conclusion that the phenomenology of vision is constitutively embodied: objects within the visual field are experienced as 3-D because sensorimotor expectations partially constitute our experience of such objects. Critics argue that there are two ways to block the above inference: to explain how we visually experience objects as 3-D, one may appeal to such non-bodily factors as expectations about movements (...) of objects, not the perceiver, or to the role of mental imagery in visual experience. But instead of using sensorimotor expectations to explain how objects are experienced within the visual field, we can instead use them to explain our experience of the visual field itself and, in particular, our experience of its limits; that is, our ever-present visual sense of there being more to see, beyond what’s currently within the visual field. Crucially, this inference from sensorimotor expectations to the constitutive embodiment of visual phenomenology is not threatened by the above two challenges. I thus present here a sensorimotor theory of the phenomenology of the visual field, that is, our experience of our visual fields as such. (shrink)

Much attention has recently been paid to the idea, which I label ‘External World Acquaintance’ (EWA), that the phenomenal character of perceptual experience is partially constituted by external features. One motivation for EWA which has received relatively little discussion is its alleged ability to help deal with the ‘Explanatory Gap’ (e.g. Fish 2008, 2009, Langsam 2011, Allen 2016). I provide a reformulation of this general line of thought, which makes clearer how and when EWA could help to explain the specific (...) phenomenal nature of visual experience. In particular, I argue that by focusing on the different kinds of perceptual actions that are available in the case of visual spatial vs. colour perception, we get a natural explanation for why we should expect the specific nature of colour phenomenology to remain less readily intelligible than the specific nature of visual spatial phenomenology. (shrink)

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)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores (...) Life to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

Our in-the-moment experience of the world can feel vivid and rich, even when we cannot describe our experience due to limitations of attention, memory or other cognitive processes. But the nature of visual awareness is quite sparse, as suggested by the phenomena of failures of awareness, such as change blindness and inattentional blindness. I will argue that once failures of memory or failures of comparison are ruled out as explanations for these phenomena, they present strong evidence against rich awareness. (...) To accommodate and explain these massive failures of awareness, any theory of phenomenal consciousness must downgrade phenomenology to a degree where it is functionless or, ironically, does not reflect what we experience. (shrink)

Judgments of visual resemblance (‘A looks like B’), unlike other judgments of resemblance, are often induced directly by visual experience. What is the nature of this experience? We argue that the visual experience that prompts a subject looking at A to judge that A looks like B is a visual experience of B. After elucidating this thesis, we defend it, using the ‘phenomenal contrast’ method. Comparing our account to competing accounts, we show that the phenomenal contrast (...) between a visual experience that induces the judgment that A looks like B, and a visual experience that does not induce this judgment, is best explained by the fact that the former visually represents B, whereas the latter does not. (shrink)

I criticise a recent variety of argument for the representational theory of experience, which holds that the very idea of perceptual experience entails the representational view. I argue that the representational view is not simply obvious, nor is it contained in the mere idea of the world looking some way. I also clarify and re-present an argument against the representational view due to Charles Travis.

Phenomenal objectivism explains perceptual phenomenal character by reducing it to an awareness of mind-independent objects, properties, and relations. A challenge for this view is that there is a sense in which a distant tree looks smaller than a closer tree even when they are the same objective size (perceptual size variation). The dual content view is a popular objectivist account in which such experiences are explained by my objective spatial relation to the tree, in particular visual angle (perspectival size). (...) I describe a series of first-person experiments for investigating size experience. I use a ruler as a first-person method for operationalising perspectival size (Experiment 1). I use the corridor illusion (Experiment 2), outlining one’s head in the mirror (Experiment 3), and outlining the size of objects on glass (Experiment 4) to show a phenomenal difference in size for items in different depth contexts, despite being identical in visual angle. These finding demonstrate that visual angle cannot account for these spatial experiences. Psychological evidence provides further support for the thesis that subjects do not experience visual angle when depth information is present. Together this evidence supports the hypothesis that perceptual size variation cannot be accounted for by visual angle, hence undermining a plausible version of the dual content theory. This outcome, combined with problems raised by alternative objectivist accounts of size variation, provides support for a subjectivist account of size experience. (shrink)

It is clear that visual imagery is somehow significantly visual. Some theorists, like Kosslyn, claim that the visual nature of visualisations derives from features of the neural processes which underlie those episodes. Pylyshyn claims, however, that it may merely reflect special features of the contents which we grasp when we visualise things. This paper discusses and rejects Pylyshyn's own attempts to identify the respects in which the contents of visualisations are notably visual. It then offers a (...) novel and very different account of what is distinctively sensory about the contents of sensory images. The paper's alternative account is used in explaining various pieces of phenomenological and behavioural data concerning visualisation. Finally, it is tentatively suggested that the proposed account of the contents of sensory images may also shed light upon some of the neurological data involving visualisation and sensory imagery more generally. (shrink)

The usual visual experiences possess a perspectival phenomenology as they seem to present objects from a certain perspective. Nevertheless, it is not obvious how to characterise experiential content determining such phenomenology. In particular, while there are many works investigating perspectival properties of experienced objects, a question regarding how subject is represented in visual perspectival experiences attracted less attention. In order to address this problem, I consider four popular phenomenal intuitions regarding perspectival experiences and argue that the (...) major theories of perspectival experiences do not account for all of them. Relying on these observations, I show how a theory which accommodates all these intuitions can be developed by (a) recognising that visual perspectival experiences are, in fact, multimodal visuo-bodily experiences and (b) distinguishing between egocentric and structural contents. (shrink)

I defend a perceptual account of face-to-face mindreading. I begin by proposing a phenomenological constraint on our visual awareness of others' emotional expressions. I argue that to meet this constraint we require a distinction between the basic and non-basic ways people, and other things, look. I offer and defend just such an account.

The paper uses the tools of mereotopology (the theory of parts, wholes and boundaries) to work out the implications of certain analogies between the 'ecological psychology' of J. J Gibson and the phenomenology of Edmund Husserl. It presents an ontological theory of spatial boundaries and of spatially extended entities. By reference to examples from the geographical sphere it is shown that both boundaries and extended entities fall into two broad categories: those which exist independently of our cognitive acts (for (...) example, the planet Earth, its exterior surface); and those which exist only in virtue of such acts (for example: the equator, the North Sea). The visual field, too, can be conceived as an example of an extended entity that is dependent in the sense at issue. The paper suggests extending this analogy by postulating entities which would stand to true judgments as the visual field stands to acts of visual perception. The judgment field is defined more precisely as that complex extended entity which comprehends all entities which are relevant to the truth of a given (true) judgment. The work of cognitive linguists such as Talmy and Langacker, when properly interpreted, can be shown to yield a detailed account of the structures of the judgment fields corresponding to sentences of different sorts. A new sort of correspondence-theoretic definition of truth for sentences of natural language can then be formulated on this basis. (shrink)

Philosophers of perception have been readier to postulate the existence of a visual field than to acknowledge sensory fields in other modalities. In this paper, I argue that the set of phenomenal features that philosophers have relied on when positing a visual field aptly characterise, mutatis mutandis, bodily sensation. I argue, in particular, that in localised bodily sensations we experience the body as a sensory field. I first motivate this claim for the case of haptic touch, and then (...) generalise it to other kinds of bodily sensation. I demonstrate the theoretical fruitfulness of this notion of a bodily field for the debate on the phenomenology of bodily ownership. (shrink)

DETERMINACY is the claim that covert shifts in visual attention sometimes affect the determinacy of visual content (capital letters will distinguish the claim from the familiar word, 'determinacy'). Representationalism is the claim that visual phenomenology supervenes on visual representational content. Both claims are popular among contemporary philosophers of mind, and DETERMINACY has been employed in defense of representationalism. I claim that existing arguments in favor of DETERMINACY are inconclusive. As a result, DETERMINACY-based arguments in support (...) of representationalism are not strong ones. (shrink)

Perception is a central means by which we come to represent and be aware of particulars in the world. I argue that an adequate account of perception must distinguish between what one perceives and what one's perceptual experience is of or about. Through capacities for visual completion, one can be visually aware of particular parts of a scene that one nevertheless does not see. Seeing corresponds to a basic, but not exhaustive, way in which one can be visually aware (...) of an item. I discuss how the relation between seeing and visual awareness should be explicated within a representational account of the mind. Visual awareness of an item involves a primitive kind of reference: one is visually aware of an item when one's visual perceptual state succeeds in referring to that particular item and functions to represent it accurately. Seeing, by contrast, requires more than successful visual reference. Seeing depends additionally on meta-semantic facts about how visual reference happens to be fixed. The notions of seeing and of visual reference are both indispensable to an account of perception, but they are to be characterized at different levels of representational explanation. (shrink)

Ordinary human perceivers know that visual objects are perceivable from standpoints other than their own. The aim of this paper is to provide an explanation of how perceptual experience equips perceivers with this knowledge. I approach the task by discussing a variety of action-based theories of perception. Some of these theories maintain that standpoint transcendence is required for shape perception. I argue that this standpoint transcendence must take place in the phenomenal present and that it can be explained in (...) terms of the experience of perceivers who jointly attend to an object. Joint perceivers experience objects as being perceived from standpoints other than their own. They operate in what I call “social space”, in which they single out objects by triangulating targets’ locations relative to their co-perceivers’ standpoints on these targets. It is then possible to explain the public character of the objects of individual experience by appeal to what I call “public space”. This is a spatial framework whose locations are presented as standpoints whence joint attention to the target would ensue, were they occupied by co-perceivers. If shape perception requires standpoint transcendence, then shape perceivers operate in public space and are thus capable of singling out targets by triangulating their locations from standpoints other than their own. If it doesn’t, then the introduction of a public spatial framework is an additional step whose introduction explains how perceivers come to experience objects as perceivable from standpoints other than their own. (shrink)

This paper argues that various phenomenological considerations support a non-representational causal account of visual experience. This position claims that visual experiences serve as a non-representational causally efficacious medium for the production of beliefs concerning the external world. The arguments are centered on defending a non-representational causal account’s understanding of the cognitive significance of visual experience. Among other things, such an account can easily explain the inextricable role that background beliefs and conceptual capacities play in perceptually-based external world (...) belief-formation processes, the fact that visual mental states constrain beliefs because of their presentational phenomenology, and the phenomenon known as the transparency of visual experience. (shrink)

This chapter explores to what extent some core ideas of predictive processing can be applied to the phenomenology of time consciousness. The focus is on the experienced continuity of consciously perceived, temporally extended phenomena (such as enduring processes and successions of events). The main claim is that the hierarchy of representations posited by hierarchical predictive processing models can contribute to a deepened understanding of the continuity of consciousness. Computationally, such models show that sequences of events can be represented as (...) states of a hierarchy of dynamical systems. Phenomenologically, they suggest a more fine-grained analysis of the perceptual contents of the specious present, in terms of a hierarchy of temporal wholes. Visual perception of static scenes not only contains perceived objects and regions but also spatial gist; similarly, auditory perception of temporal sequences, such as melodies, involves not only perceiving individual notes but also slightly more abstract features (temporal gist), which have longer temporal durations (e.g., emotional character or rhythm). Further investigations into these elusive contents of conscious perception may be facilitated by findings regarding its neural underpinnings. Predictive processing models suggest that sensorimotor areas may influence these contents. (shrink)

Science is a crowning glory of the human spirit and its applications remain our best hope for social progress. However, there are limitations to existing science and perhaps to any science. The general mind-body problem is known to be currently intractable and mysterious (8). This is one of many deep problems that are generally agreed to be beyond the present purview of Science, including many quantum phenomena, etc. However, all of these famous unsolved problems are either remote from everyday experience (...) (entanglement, dark matter) or are hard to even define sharply (phenomenology, consciousness, etc.). In this note, we will consider some computational problems in vision that arise every time that we open our eyes and yet are demonstrably inconsistent with current theories of neural computation. The focus will be on two famous related phenomena, known as the neural binding problem and the experience of a detailed stable visual world. I, among many others, have struggled with these issues for more than fifty years (1, 2, 3). Somewhat paradoxically, the continuing progress in scientific methods and knowledge reveals that these are both unsolvable within existing neuroscience. By considering some basic facts about how the brain processes image input, we will show that, under the standard theory, there are not nearly enough brain neurons to compute what we experience as vision. Inconsistencies like the ones shown here have had a profound effect on paradigm change in the sciences. More directly, the discussions below suggest possible new theories and experiments. (shrink)

Terence Horgan and John Tienson argue that there is phenomenal intentionality, i.e., “a kind of intentionality, pervasive in human mental life, that is constitutively determined by phenomenology alone” (p. 520). However, their arguments are open to two lines of objection. First, Horgan and Tienson are not sufficiently clear as to what kind of content it is that they take to be determined by, or to supervene on, phenomenal character. Second, critics have objected that, for their conclusion to follow, Horgan (...) and Tienson would first have to establish the co-variation of phenomenology and intentional content, but even so, phenomenal intentionality would still emerge as less plausible than its converse, representationalism. I will address these two challenges by appeal to Husserlian ideas. A consideration of perceptual phenomenology (i.e., phenomenal character) shows that there is a kind of perceptual content that is, indeed, determined by phenomenal character. Such content is conceived in terms of fulfillment conditions, or what it takes to bring aspects of objects and scenes to different, and more complete, ways of givenness. We can establish the primacy of phenomenology, relative to such fulfillment-conditional content, by tracing it back to the basic phenomenology of visual and other sensations. (shrink)

Blindsight is a kind of residual vision found in people with lesions to V1. Subjects with blindsight typically report no visual awareness, but they are nonetheless able to make above-chance guesses about the shape, location, color and movement of visual stimuli presented to them in their blind field. A different kind of blindsight, sometimes called type 2 blindsight, is a kind of residual vision found in patients with V1 lesions in the presence of some residual awareness. Type 2 (...) blindsight differs from ordinary visual experience in lacking the particularity, transparency and fine-grainedness often taken to be essential to visual experience, at least in veridical cases. I argue that the case of type 2 blindsight provides a counterexample to the view that these characteristics are essential to veridical visual experience and that this gives us reason to resist the view that visual experience is essentially a perceptual relation to external objects. In the second part of the paper I argue that the case of type 2 blindsight yields important insights into the effects of attentional modulation on perceptual content and that cases of attentional modulation of appearance are not at odds with the view that the phenomenology of visual experience flows from its content. (shrink)

Attempts to introduce Gestalt theory into the realm of visual neuroscience are discussed on both theoretical and experimental grounds. To define the framework in which these proposals can be defended, this paper outlines the characteristics of a standard model, which qualifies as a received view in the visual neurosciences, and of the research into natural images statistics. The objections to the standard model and the main questions of the natural images research are presented. On these grounds, this paper (...) defends the view that Gestalt psychology and experimental phenomenology provide a contribution to the research into perception by the construction of phenomenological models for an ecologically meaningful interpretation of the empirical evidence and the hypothetical constructs of the natural image research within the visual neuroscience. A formal framework for the phenomenological models is proposed, wherein Gestalt theoretical principles and empirical evidence are represented in terms of topological properties and relationships, which account for the order and structures that make the environment accessible to observers at a relevant behavioural level. It is finally argued that these models allow us to evaluate the principles and the empirical evidence of various natures which are integrated from different fields into the research into perception, and in particular into visual neurosciences. (shrink)

Do cinematic representations of the natural world only put us in further remove from nature? A phenomenological approach shows that nature screened can produce a richer understanding of human–nature relations as these unfold in visual contact. If vision accesses the world in a unique relationship of sight, in which our contact with the world is defined by vision prior to any other interaction, the cinema offers a special setting for a phenomenology that seeks to draw-out the significance of (...) human relations with the world of nature that come before utility or action. A detailed analysis of the opening sequence of Terrence Malick’s The New World demonstrates how the act of viewing positions the viewer in relation to what she sees. This position, prior to action and with the impossibility to act is seen here as an ethical position, a position of responsibility in the Levinasian sense. Merleau-Ponty’s phenomenology of vision is put here to use alongside the hermeneutic phenomenology of Heidegger and the existential responsibility of Levinas, while subverting Levinas’ anthropocentrism and rejecting Heidegger’s limiting view of technology. The approach taken in this essay, of bringing phenomenology into productive and reflexive interaction with ecology and with film is dubbed an “eco-film-phenomenology.”. (shrink)

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of an oppositely moving (...) world. To show this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

Though the following problem is not explicitly raised by her, it seems sufficiently similar to an issue of pertinence to Akins's "Black and White and Color" (this volume) to merit the moniker, Akins's Problem : Can there be a visual experience devoid of both color phenomenology and black-and-white phenomenology? The point of the present paper is to draw from Akins's paper the materials needed to sketch a case for a positive answer to Akins's Problem. I am unsure (...) about how much of what follows Akins will want to endorse, but I hope this helps move us forward in our collective pursuit of a theory of visual consciousness. (shrink)

This paper examines visual representation from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. Suggests ways to clarify complex issues of representational ethics in marketing communications and marketing representations, suggesting an analysis that makes identity creation central to societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, drawing upon tourist promotions, advertisements, and mundane objects in material culture. Moreover, music is an important force in marketing communication: visual (...) representations in music promotions are also explored as data for inquiry. Offers an alternative to phenomenologically based approaches in marketing and consumer research scholarship that use consumer responses to generate data. Contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation. (shrink)

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)

The Emergic Cognitive Model (ECM) is a unified computational model of visual filling-in based on the Emergic Network architecture. The Emergic Network was designed to help realize systems undergoing continuous change. In this thesis, eight different filling-in phenomena are demonstrated under a regime of continuous eye movement (and under static eye conditions as well). -/- ECM indirectly demonstrates the power of unification inherent with Emergic Networks when cognition is decomposed according to finer-grained functions supporting change. These can interact to (...) raise additional emergent behaviours via cognitive re-use, hence the Emergic prefix throughout. Nevertheless, the model is robust and parameter free. Differential re-use occurs in the nature of model interaction with a particular testing paradigm. -/- ECM has a novel decomposition due to the requirements of handling motion and of supporting unified modelling via finer functional grains. The breadth of phenomenal behaviour covered is largely to lend credence to our novel decomposition. -/- The Emergic Network architecture is a hybrid between classical connectionism and classical computationalism that facilitates the construction of unified cognitive models. It helps cutting up of functionalism into finer-grains distributed over space (by harnessing massive recurrence) and over time (by harnessing continuous change), yet simplifies by using standard computer code to focus on the interaction of information flows. Thus while the structure of the network looks neurocentric, the dynamics are best understood in flowcentric terms. Surprisingly, dynamic system analysis (as usually understood) is not involved. An Emergic Network is engineered much like straightforward software or hardware systems that deal with continuously varying inputs. Ultimately, this thesis addresses the problem of reduction and induction over complex systems, and the Emergic Network architecture is merely a tool to assist in this epistemic endeavour. -/- ECM is strictly a sensory model and apart from perception, yet it is informed by phenomenology. It addresses the attribution problem of how much of a phenomenon is best explained at a sensory level of analysis, rather than at a perceptual one. As the causal information flows are stable under eye movement, we hypothesize that they are the locus of consciousness, howsoever it is ultimately realized. (shrink)

It is tough to relate visual perception or other achievements to physiological processing in the central nervous system. The diagrammatic, algebraic, and verbal pictures of how sights seem to Lehar do not advance understanding of how we manage to see what is in the world. There are well-known conceptual reasons why no such purely introspective approach can be productive.

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 (...) class='Hi'>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)

According to the biomedical model of medicine, the subject of the illness event is the pathology rather than the person diagnosed with the disease. In this view, a body-self becomes a ‘patient’ body-object that can be enrolled in a therapeutic protocol, investigated, assessed, and transformed. How can it be possible for cancer patients to make sense of the opposite dimensions of their body-self and their body-diseased-object? Could a creative embodied approach enable the coping with trauma tied to the experience of (...) illness? By applying a phenomenological approach and auto-ethnographic analysis to the experience of cancer, this visual exploration provides support for rethinking the cancer event through a performative perspective. This work previews images and video material collected over ten years of haematological treatments, video dance performances and physical explorations. This work displays how processes of healing can be set in motion by creative embodied practices, physical explorations and unexpected journeys. By resisting the biomedical model and allowing the emergence of new meanings, it illustrates how dance and performative practices offer ground for transformation. (shrink)

The traditional presentation about historical time-passing consists in a linear succession of facts in which some aspects of the lifeworld evolve from others in anirreversible manner. The presentation of change is connected to the presentation of gradual or revolutionary linear changes that areirrevocable. I believe that this presentation could be considered correct for living organisms, but does not take account of some important aspects of demonstrative presentations about artefacts and technologies. For example, we can ontologically assume that “hammer-beating” evolved from (...) “stone-beating”. In this sense, the “hammer-beating-time” could be considered contemporary-time and the “stone-beating-time” could be considered past-time. However, we still beat things with stones and stone-like artefacts. The technology of the stone-beating is still been used. That means that relationship between the stone and the hammer cannot be seen as “evolutive” in the same sense that organisms “evolve” from each other. We must assume then, that the stone and the hammer must be interchangeable technologies which do not overshadow each other. This family of technologies and artefacts are contemporary to each other. Time-passing metaphors must then be substituted with metaphors of a “technological instability” that can be associated to a foundational cultural explosion. (shrink)

This commentary critically examines the view of the relationship between perception and memory in Ned Block's *The Border Between Seeing and Thinking*. It argues that visual working memory often stores the outputs of perception without altering their formats, allowing online visual perception to access these memory representations in computations that unfold over longer timescales and across eye movements. Since Block concedes that visual working memory representations are not iconic, we should not think of perceptual representations as exclusively (...) iconic either. (shrink)

Visual phenomenology is highly elusive. One attempt to operationalize or to measure it is to use ‘cognitive accessibility’ to track its degrees. However, if Ned Block is right about the overflow phenomenon, then this way of operationalizing visual phenomenology is bound to fail. This thesis does not directly challenge Block’s view; rather it motivates a notion of cognitive accessibility different from Block’s one, and argues that given this notion, degrees of visual phenomenology can be (...) tracked by degrees of cognitive accessibility. Block points out that in the psychology literature, ‘cognitive accessibility’ is often regarded as either all or nothing. However, the notion motivated in the thesis captures the important fact that accessibility comes in degrees (consider the visual field from fovea the periphery). Different legitimate notions of accessibility might be adopted for different purposes. The notion of accessibility motivated here is weaker than Block’s ‘identification’ (2007) but is stronger than Tye’s ‘demonstration’ (2007). The moral drawn from the discussion of Block can be applied to the debate between Dretske and Tye on the speckled-hen style examples. Dretske’s view is even stronger than Block’s, but his arguments from various figures he provides do not support his conclusion since he does not have right ideas about fixation and attention. Tye’s picture is more plausible but his notion of accessibility is so weak that he reaches the excessive conclusion that accessibility overflows phenomenology. Three ramifications might be considered in the final part of the thesis. The first is the relation between this debate and the one concerning higher-order/same-order theories of consciousness. The second is about John McDowell’s early proposal about demonstrative concepts in visual experiences. The third is the relation between the interpretation of the Sperling case proposed here and McDowell new view of experiential contents, i.e., his story about how we carve out conceptual contents out of intuitional contents without falling pray to the Myth of the Given. (shrink)

This volume’s aim is to stimulate philosophical interest in the experience of noise. There are at least three important open questions about noise. First, how should the relationship between noise as a scientific phenomenon and as a type of experience be understood? Is the one to be understood in terms of the other, and what implications may be drawn from this? Second, are experiences of noise strictly limited to perceptual states or to one type of perceptual state – for instance, (...) to acoustic experiences? E.g. is there noise that is visual or tactile? Is there noise that is cognitive, affective, or evaluative? Third, how can philosophy make sense of noise in the first place? Should noise simply be relegated to the hither side of the explananda of philosophy, as the mere leftover of whatever philosophy sets out to account for; meaning, being, totality, etc.? Or may noise be understood as a positive phenomenon in its own right, which has its own distinctive features and content, difficult though they might be to pin down? This volume will contribute to the burgeoning philosophy of noise by highlighting how contemporary philosophical perspectives with a phenomenological or experiential bent – the latter under both broad and narrow construals – can make inroads to these questions about a fascinating yet little understood quarter of human experience. (shrink)

Blindsight and vision for action seem to be exemplars of unconscious visual processes. However, researchers have recently argued that blindsight is not really a kind of uncon- scious vision but is rather severely degraded conscious vision. Morten Overgaard and col- leagues have recently developed new methods for measuring the visibility of visual stimuli. Studies using these methods show that reported clarity of visual stimuli correlates with accuracy in both normal individuals and blindsight patients. Vision for action has (...) also come under scrutiny. Recent findings seem to show that information processed by the dor- sal stream for online action contributes to visual awareness. Some interpret these results as showing that some dorsal stream processes are conscious visual processes (e.g., Gallese, 2007; Jacob & Jeannerod, 2003). The aim of this paper is to provide new support for the more traditional view that blindsight and vision for action are genuinely unconscious per- ceptual processes. I argue that individuals with blindsight do not have access to the kind of purely qualitative color and size information which normal individuals do. So, even though people with blindsight have a kind of cognitive consciousness, visual information process- ing in blindsight patients is not associated with a distinctly visual phenomenology. I argue further that while dorsal stream processing seems to contribute to visual awareness, only information processed by the early dorsal stream (V1, V2, and V3) is broadcast to working memory. Information processed by later parts of the dorsal stream (the parietal lobe) never reaches working memory and hence does not correlate with phenomenal awareness. I con- clude that both blindsight and vision for action are genuinely unconscious visual processes. (shrink)

I argue against one way of understanding the claim that how one’s visual experience “seems” provides support for the naïve-realist theory and weighs against sense-data theories . If my argument is correct, and we abandon this way of understanding how experience “seems”, we would lose one reason for favouring naïve-realism at the start of the dialectic of the traditional problem of perception. En route, I distinguish diff erent ways of understanding the transparency of experience, consider how to make sense (...) of rival theorists’ disagreement over the manifest nature of visual phenomenology and recount a story about Wittgenstein. (shrink)

This article develops a view of shape representation both in visual experience and in subpersonal visual processing. The view is that, in both cases, shape is represented in a ‘layered’ manner: an object is represented as having multiple shape properties, and these properties have varying degrees of abstraction. I argue that this view is supported both by the facts about visual phenomenology and by a large collection of evidence in perceptual psychology. Such evidence is provided by (...) studies of shape discriminability, apparent motion, multiple-object tracking, and structure-from-motion. Recent neuroscientific work has also corroborated this psychophysical evidence. Finally, I draw out implications of the layered view for processes of concept acquisition. 1 Introduction2 Metric Properties andShape Properties3 Metric Views4 Against Metric Views of Visual Shape Experience5 The Visual System Uses Abstract Shape Properties6 Against Metric Views of Visual Shape Representation7 Neural Underpinnings of Abstract Shape Perception8 Implications. (shrink)

Pylyshyn restricts cognitively penetrable vision to late vision, whereas he does not make any distinction between different kinds of penetrating cognition. I argue that this approach disconnects early vision content from late vision content and blurs the distinction between the latter and the content of thought. To overcome this problem I suggest that we should not distinguish between different kinds of visual content but instead introduce a restriction on the kind of cognition that can directly penetrate visual experience. (...) In particular, I suggest that visual experience, unlike thought, is directly penetrated only by practical non-propositional knowledge. I specify this weak cognitive penetrability in anti-representational terms. In particular, I suggest that the dependence of visual content on practical non-propositional knowledge should be conceived as a rational non-inferential relation, for it is in this way that we can account for the distinctive content of visual experience. (shrink)

Pylyshyn restricts cognitively penetrable vision to late vision, whereas he does not make any distinction between different kinds of penetrating cognition. I argue that this approach disconnects early vision content from late vision content and blurs the distinction between the latter and the content of thought. To overcome this problem I suggest that we should not distinguish between different kinds of visual content but instead introduce a restriction on the kind of cognition that can directly penetrate visual experience. (...) In particular, I suggest that visual experience, unlike thought, is directly penetrated only by practical non-propositional knowledge. I specify this weak cognitive penetrability in anti-representational terms. In particular, I suggest that the dependence of visual content on practical non-propositional knowledge should be conceived as a rational non-inferential relation, for it is in this way that we can account for the distinctive content of visual experience. (shrink)

Human beings have the ability to ‘augment’ reality by superimposing mental imagery on the visually perceived scene. For example, when deciding how to arrange furniture in a new home, one might project the image of an armchair into an empty corner or the image of a painting onto a wall. The experience of noticing a constellation in the sky at night is also perceptual-imaginative amalgam: it involves both seeing the stars in the constellation and imagining the lines that connect them (...) at the same time. I here refer to such hybrid experiences – involving both a bottom-up, externally generated component and a top-down, internally generated component – as make-perceive (Briscoe 2008, 2011). My discussion in this paper has two parts. In the first part, I show that make-perceive enables human beings to solve certain problems and pursue certain projects more effectively than bottom-up perceiving or top-down visualization alone. To this end, the skillful use of projected mental imagery is surveyed in a variety of contexts, including action planning, the interpretation of static mechanical diagrams, and non-instrumental navigation. In the second part, I address the question of whether make-perceive may help to account for the “phenomenal presence” of occluded or otherwise hidden features of perceived objects. I argue that phenomenal presence is not well explained by the hypothesis that hidden features are represented using projected mental images. In defending this position, I point to important phenomenological and functional differences between the way hidden object features are represented respectively in mental imagery and amodal completion. (shrink)