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Perceptual Qualities, Misc

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  • Stephan Blatti (2006). No Impediment to Solidity as Impediment. Metaphysica 7 (1):35-41.
    ABSTRACT: Quassim Cassam (1997) accepts the standard account of solidity, according to which, if S feels x as solid, then S feels x as an imediment to his movement. Recently, Martin Fricke and Paul Snowdon (2003) have presented a battery of counter-examples designed to show that S may feel x as solid and as exerting a pressure that supports or facilitates his movement. In this note, I defend the standard account against Fricke and Snowdon’s attack. Integral to this defense is (...)
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  • Evander Bradley McGilvary (1933). Perceptual and Memory Perspectives. Journal of Philosophy 30 (12):309-330.
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  • Lynne M. Broughton (1981). Quine's 'Quality Space'. Dialectica 35:291-302.
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  • W. C. Clement (1956). Quality Orders. Mind 65 (April):184-199.
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  • Andy Egan (2006). Appearance Properties? Noûs 40 (3):495-521.
    Intentionalism is the view that the phenomenal character of an experience is wholly determined by its representational content is very attractive. Unfortunately, it is in conflict with some quite robust intuitions about the possibility of phenomenal spectrum inversion without misrepresentation. Faced with such a problem, there are the usual three options: reject intentionalism, discount the intuitions and deny that spectrum inversion without misrepresentation is possible, or find a way to reconcile the two by dissolving the apparent conflict. Sydney Shoemaker's (1994) (...)
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  • Alan H. Goldman (1975). Criteriological Arguments in Perception. Mind 84 (January):102-105.
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  • P. M. S. Hacker (1991). Appearance and Reality: A Philosophical Investigation Into Perception and Perceptual Qualities. Cambridge: Blackwell.
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  • Casey O'Callaghan, Pitch.
    Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.
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  • Casey O'Callaghan, The Argument From Vacuums.
    A commonly shared assumption is that there are no sounds in vacuums. If the standard science-based view that sounds are waves that exist in and travel through a medium such as air or water is correct, then vacuums hold no sounds and the shared assumption is true. Recently, however, several philosophers (Pasnau 1999, 2000; Casati and Dokic 1994) have argued against the received view. These authors have claimed, primarily on perceptual grounds, that sounds are properties of their sources (Pasnau 1999) (...)
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