"This admirable volume of readings is the first of a pair: the editors are to be applauded for placing the philosophy of color exactly where it should go, in ...

Developmental synesthesia typically involves either the stimulation of one sensory modality which gives rise to an experience in a different modality (when a sound, for example, evokes a colour) or the stimulation of a single sensory modality giving rise to different qualitative aspects of experience (when the sight of a number, for example, evokes a colour). These occurrences seem to support Grice’s (1989) argument that sense modalities cannot be individuated without reference to the introspective-character of experience. This, however, threatens intentionalism (...) which maintains that the qualitative character of experience is exhausted, or fully determined by, its intentional content. Ross (2001) attempts to defuse Grice’s argument by proposing an account that does not appeal to the qualitative character of experience to individuate sense modalities. I argue that his account is unsuccessful. (shrink)

What is the relationship between sounds and time? More specifically, is there something essentially or distinctively temporal about sounds that distinguishes them from, say, colors, shapes, odors, tastes, or other sensible qualities? And just what might this distinctive relation to time consist in? Apart from their independent interest, these issues have a number of important philosophical repercussions. First, if sounds are temporal in a way that other sensible qualities are not, then this would mean that standard lists of paradigm secondary (...) qualities offered by Locke, Galileo, and other modern philosophers — lists which include colors, odors and sounds without any significant distinctions — overlook significant metaphysical differences. This, in turn, would threaten to undermine the coherence of the modern understanding of secondary qualities itself. Moreover, a number of authors have recently urged that the essential temporality of sounds makes it impossible to understand sounds as properties (except on a trope theory of properties; see note 3). If true, and given the more or less universal view that colors are properties, this last conclusion would make potentially inapplicable to sounds much of the comparatively well-developed philosophical taxonomy and apparatus that has arisen in philosophical disputes over the status of colors (for presentations of this taxonomy and apparatus see, for example, Byrne and Hilbert (2003); Cohen (2008b)).1 Therefore, the conclusion that sounds are distinctively temporal would be a serious blow to hopes for a theoretically unified treatment of the sensory qualities.2 For all these reasons, quite a lot seems to hang on the question of the temporality of sounds. (shrink)

Listening and Voice is an updated and expanded edition of Don Ihde's groundbreaking 1976 classic in the study of sound.

There is a growing consensus in the philosophical literature that sounds differ rather profoundly from colors. Colors are qualities, while sounds are particulars of some sort or other, such as events or pressure waves. A key motivation for this is that sounds seem to be transient, to evolve over time, to begin and end, while colors seem like stable qualities of objects' surfaces. I argue that sounds are indeed, like colors, stable qualities of objects. Sounds are not transient, and they (...) do not seem to be, even though they are typically perceived transiently. In particular, sounds are dispositions of objects to vibrate in response to being stimulated. This stable property view of sounds aligns nicely with, and owes an inspirational debt to, reflectance physicalist accounts of color. The upshot is a unified picture of colors, sounds, and the perception thereof. (shrink)

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (shrink)

It is a commonly held view that auditory perception functions to tell us about sounds and their properties. In this paper I argue that this common view is mistaken and that auditory perception functions to tell us about the objects that are the sources of sounds. In doing so, I provide a general theory of auditory perception and use it to give an account of the content of auditory experience and of the nature of sounds.

Whether or not we would be happy to do without sounds, the idea that our expe- rience of sounds is of things which are distinct from the world of material objects can seem compelling. All you have to do to confirm it is close your eyes and reflect on the character of your auditory experience.

The views are original, and there is substantive engagement among contributors. This collection will stimulate future research in this area.

The views are original, and there is substantive engagement among contributors. This collection will stimulate future research in this area.

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.

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) (...) or events located at their sources. According to Pasnau (1999), sounds are either identical with or supervene upon the the vibrations of objects ordinarily thought to make or produce sounds. For Casati and Dokic (1994), sounds are events constituted by such vibrations. These views share the consequence that sounds can exist in vacuums; sounds occur when an object vibrates alone in the absence of a surrounding medium. I do not wish here to directly engage the debate over whether sounds are properties or events in the medium or in the sources. Instead, I wish to indirectly address it by urging that the question of whether there could be sounds in vacuums should be decided neither by simply consulting common sense nor by reading off the consequences of one’s favorite metaphysical theory of sounds. I argue that even independent of explicit theoretical commitments concerning the nature of. (shrink)

Recent work on non-visual modalities aims to translate, extend, revise, or unify claims about perception beyond vision. This paper presents central lessons drawn from attention to hearing, sounds, and multimodality. It focuses on auditory awareness and its objects, and it advances more general lessons for perceptual theorizing that emerge from thinking about sounds and audition. The paper argues that sounds and audition no better support the privacy of perception’s objects than does vision; that perceptual objects are more diverse than an (...) exclusively visual perspective suggests; and that multimodality is rampant. In doing so, it presents an account according to which audition affords awareness as of not just sounds, but also environmental happenings beyond sounds. (shrink)

Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial nature. I defend three proposals. First, audition furnishes information about the locations of things and events in one's environment because auditory experience itself is spatial. Audition represents space. Second, we hear the locations of things and events by or in hearing locational information about their sounds. Third, we auditorily experience sounds (...) themselves as having relatively stable distal locations. I reject skepticism about spatial audition tracing to Strawson's Individuals, and suggest that spatial audition supports the view that audition and vision share a dimension of perceptual content. (shrink)

Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial phenomenology. I defend three proposals. First, audition furnishes one with information about the locations of things and happenings in one’s environment because auditory experience itself has spatial content—auditory experience involves awareness of space. Second, we hear the locations of things and events by or in hearing the locations of their sounds. (...) Third, we auditorily experience sounds themselves as having relatively stable distal locations. I reject skepticism about spatial audition and auditory experience tracing to Strawson’s Individuals , and suggest that spatial auditory experience grounds a form of perceptual access to objects and events that is critical to negotiating one’s environment. (shrink)

Provides the theoretical and psychological framework to the philosophy of sounds and audition. I address auditory scene analysis, spatial hearing, the audible qualities, and cross-modal interactions.

I argue that sounds are best conceived not as pressure waves that travel through a medium, nor as physical properties of the objects ordinarily thought to be the sources of sounds, but rather as events of a certain kind. Sounds are particular events in which a surrounding medium is disturbed or set into wavelike motion by the activities of a body or interacting bodies. This Event View of sounds provides for a uni- ?ed perceptual account of several pervasive sound phenomena, (...) including transmission through barriers, constructive and destructive interference, and echoes. (shrink)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger than just that of an intentional (...) object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

Echo experiences are illusory experiences of ordinary primary sounds. Just as there is no new object that we see at the surface of a mirror, there is no new sound that we hear at a reflecting surface. The sound that we hear as an echo just is the original primary sound, though its perception involves illusions of place, time, and qualities. The case of echoes need not force us to adopt a conception according to which sounds are persisting object-like particulars (...) that travel through space. (shrink)

... ISBN0199215928 ... -/- Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical (...) view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned. -/- . (shrink)

Tradition has it that, although we experience darkness, we can neither hear nor hallucinate silence. At most, we hear that it is silent, in virtue of lacking auditory experience. This cognitive view is at odds with our ordinary thought and talk. Yet it is not easy to vouchsafe the perception of silence: Sorensen‘s recent account entails the implausible claim that the permanently and profoundly deaf are perpetually hallucinating silence. To better defend the view that we can genuinely hear and hallucinate (...) silence, we must reject the austere picture of conscious experience which underpins the cognitive theory. According to that picture, conscious experience is a simple relation between subjects and objects. In the absence of an object, there is no relation, and so no experience. By enriching this picture, room can be found for the experience of silence. I explore this idea in two phases. First, I defend the thought that we can hear and hallucinate certain forms of silence, such as pauses, in virtue of experiencing contrastive sounds. Second, I draw on Moore‘s analysis of sensation to suggest that simply experiencing silence is a special form of objectless consciousness. I offer two ways of fleshing out this idea. According to the first, auditory experience possesses a temporal field within which the absence of sounds can be perceived. According to the second, purely Moorean account, it is our capacity to listen in the absence of sounds that underlies the phenomenon of experiencing silence. (shrink)

The classic, influential essay in 'descriptive metaphysics' by the distinguished English philosopher.

Fallibilists about looks deny that the relation of looking the same as is non-transitive. Regarding familiar examples of coloured patches suggesting that such a relation is non-transitive, they argue that, in fact, indiscriminable adjacent patches may well look different, despite their perceptual indiscriminability: it’s just that we cannot notice the relevant differences in the chromatic appearances of such patches. In this paper, I present an argument that fallibilism about looks requires commitment to an empirically false consequence. To succeed in deflecting (...) putative cases of non-transitivity, fallibilists would have to claim that there can’t be any perceptual limitations of any kind on human chromatic discrimination. But there are good reasons to think such limitations exist. (shrink)

Conceptualists have it that the representational content of perceptual experience is determined by the concepts a subject applies in having such an experience. Conceptualists like Bill Brewer [1999] and John McDowell [1994] have laid particular emphasis on demonstrative concepts in trying to account for the fact that subjects can perceive and discriminate very many specific shades of colour in experience. Against this, it has been objected that such demonstrative concepts have incoherent conditions of extension and/or of individuation, due to the (...) fact that chromatic indiscriminability is non-transitive. In this paper, I consider three different versions of this objection and show why each fails. (shrink)

Suppose you are presented with three red objects. You are then asked to take a careful look at each possible pair of objects, and to decide whether or not their members look chromatically the same. You carry out the instructions thoroughly, and the following propositions sum up the results of your empirical investigation:

i. red object #1 looks the same in colour as red object #2.

ii. red object #2 looks the same in colour as red object #3.

Drawing on work in psychophysics, psychometrics, and sensory neurophysiology, Clark analyzes the character and defends the integrity of psychophysical explanations of qualitative facts, arguing that the structure of such explanations is sound and potentially successful.

Most solutions to the sorites reject its major premise, i.e. the quantified conditional . This rejection appears to imply a discrimination between two elements that are supposed to be indiscriminable. Thus, the puzzle of the sorites involves in a fundamental way the notion of indiscriminability. This paper analyzes this relation and formalizes it, in a way that makes the rejection of the major premise more palatable. The intuitive idea is that we consider two elements indiscriminable by default, i.e. unless we (...) know some information that discriminates between them. Specifically, following Rough Set Theory, two elements are defined to be indiscernible if they agree on the vague property in question. Then, a is defined to be indiscriminable from b if a is indiscernible by default from b . That is to say, a is indiscriminable from b if it is consistent to assume that a and b agree on the relevant vague property. (shrink)

A series of unnoticeably small changes in an observable property may add up to a noticeable change. Crispin Wright has used this fact to prove that perceptual indiscriminability is a non-transitive relation. Delia Graff has recently argued that there is a 'tension' between Wright's assumptions. But Graff has misunderstood one of these, that 'phenomenal continua' are possible; and the other, that our powers of discrimination are finite, is sound. If the first assumption is properly understood, it is not in tension (...) with but is actually implied by the second, given a plausible physical assumption. (shrink)

I argue in this paper that the existence of sorites series of color patches – series of color patches arranged so that the patches on each end look different in color though no two adjacent patches do – shows that the relation of same phenomenal charac­ter as is not a transitive relation. I then argue that the intransitivity of same phenomenal character as conflicts with certain versions of intentionalism, the view that an experiences phenomenal character is exhausted, or fully determined (...) by its intentional content. Lastly, I consider various objections to the arguments and reply to them. (shrink)

Since Nelson Goodman 1951, the assumption that phenomenal indiscriminability is non-transitive is taken generally for granted. Moreover, this assumption was used (by Goodman 1951, Travis 1985, Dummett 1975 and others) to argue against the existence or coherence of subjective and/or observational properties. Recently, however, the assumption has been questioned [Fara 2001] and I agree with Fara that the assumption is much more problematic than was thought, partly because it is not clear what is meant by the relation of phenomenal indiscriminability, (...) and partly because it is not clear how to interpret ideas such as continuous change, and the limitations of our power of perceptual discrimination. In this paper I will bypass the question of the transitivity of phenomenal indiscriminability. I will use only the assumption about the existence (or even the possibility of existence) of a phenomenal sorites. This assumption is less controversial, and accepted (at least the version I will use) by opponents and defenders of transitivity alike. I will argue that the incoherence of 'red' (as response-dependent or purely observational) can be derived without committing ourselves to a view on the question of transitivity, and I will use this incoherence, to argue against the account of 'red' as a response-dependent concept. (shrink)

Abstract: How exactly should the relation between a veridical perception and a corresponding hallucination be understood? I argue that the epistemic notion of ‘indiscriminability’, understood as lacking evidence for the distinctness of things, is not suitable for defining this relation. Instead, we should say that a hallucination and a veridical perception involve the same phenomenal properties. This has further consequences for attempts to give necessary and sufficient conditions for the identity of phenomenal properties in terms of indiscriminability, and for considerations (...) about the phenomenal sorites. (shrink)

In her recent book Anti-Individualism and Knowledge, Jessica Brown has presented a novel answer to the self-knowledge achievement problem facing the proponent of anti-individualism. She argues that her answer is to be preferred to the traditional answer (based on Burge, 1988a). Here I present three objections to the claim that her proposed answer is to be preferred. The significance of these objections lies in what they tell us about the nature of the sort of knowledge that is in dispute. Perhaps (...) the most important lesson I draw from this discussion is that, given the nature of knowledge of one's own thoughts, discriminability (from relevant alternatives) is not a condition on knowledge as such. (shrink)

In this paper I show that a variety of Cartesian Conceptions of the mental are unworkable. In particular, I offer a much weaker conception of limited discrimination than the one advanced by Williamson (2000) and show that this weaker conception, together with some plausible background assumptions, is not only able to undermine the claim that our core mental states are luminous (roughly: if one is in such a state then one is in a position to know that one is) but (...) also the claim that introspection is infallible with respect to our core mental states (where a belief that C obtains is infallible just in case if one believes that C obtains then C obtains). The upshot is a broader and much more powerful case against the Cartesian conception of the mental than has been advanced hitherto. (shrink)

This volume will be an essential resource for anyone working in the central areas of philosophy, and the starting point for future research in this fascinating ...

Inspired by the writings of J. M. Hinton (1967a, 1967b, 1973), but ushered into the mainstream by Paul Snowdon (1980–1, 1990–1), John McDowell (1982, 1986), and M. G. F. Martin (2002, 2004, 2006), disjunctivism is currently discussed, advocated, and opposed in the philosophy of perception, the theory of knowledge, the theory of practical reason, and the philosophy of action. But what is disjunctivism?

Let's be externalists about perceptual consciousness and think the form of veridical perceptual consciousness includes /seeing this or that mind-independent particular and its colors/. Let's also take internalism seriously, granting that spectral inversion and hallucination can be "phenomenally" the same as normal seeing. Then perceptual consciousness and phenomenality are different, and so we need to say how they are related. It's complicated!<br><br>Phenomenal sameness is (against all odds) /reflective indiscriminability/. I build a "displaced perception" account of reflection on which indiscriminability stems (...) from shared "qualia". Qualia are compatible with direct realism: while they generate an explanatory gap (and colors do not), so does /seeing/; qualia are excluded from perceptual consciousness by its "transparency"; instead, qualia are aspects of thought about the perceived environment. <br><br>The asymmetry between my treatments of color and seeing is grounded in the asymmetry between ignorance and error: while inversion shows that normal subjects are ignorant of the natures of the colors, hallucination shows not that perceivers are ignorant of the nature of seeing but that hallucinators are prone to error about their condition. Past literature has treated inversion and hallucination as on a par: externalists see error in both cases, while internalists see mutual ignorance. My account is so complicated because plausible results require mixing it up. (shrink)

Perception represents colors inexactly. This inexactness results from phenomenally manifest noise, and results in apparent violations of the transitivity of perceptual indiscriminability. Whether these violations are genuine depends on what is meant by 'transitivity of perceptual indiscriminability'.

Australasian Journal of Philosophy, Volume 0, Issue 0, Page 1-18, Ahead of Print.

Taking a series of colour patches, starting with one that clearly looks red, and making each so similar in colour to the previous one that it looks the same as it, we appear to be able to show that a yellow patch looks red. I ask whether phenomenal sorites paradoxes, such as this, are subject to a unique kind of solution that is unavailable in relation to other sorites paradoxes. I argue that they do not need such a solution, nor (...) do they succumb to one. In particular, I reject the claim made by Fara and Raffman that looks the same is a transitive relation, which would allow us to solve phenomenal sorites paradoxes by denying the possibility of the required kind of sorites series. (shrink)

The goal of the present paper is to defend against a certain line of attack the view that conscious experience of <span class='Hi'>color</span> is no more fine-grained that the repertoire of non- demonstrative concepts that a perceiver is able to bring to bear in perception. The line of attack in question is an alleged empirical argument - the Diachronic Indistinguishability Argument (DIA) - based on pairs of colors so similar that they can be discriminated when simultaneously presented but not when (...) presented across a memory delay. My aim here is to show that this argument fails. (shrink)

I respond to the separate commentaries by Jacob Berger, Charlie Pelling, and David Pereplyotchik on my paper, “Color-Consciousness Conceptualism.” I resist Berger’s suggestion that mental colors ever enter consciousness without accompaniment by deployments of concepts of their extra-mental counterparts. I express concerns about Pelling’s proposal that a more uniform conceptualist treatment of phenomenal sorites can be gained by a simple appeal to the partial overlap of the extensions of some concepts. I question the relevance to perceptual consciousness of the arguments (...) for demonstrative concepts that Pereplyotchik attacks. (shrink)

The disjunctive theory of perception claims that we should understand statements about how things appear to a perceiver to be equivalent to statements of a disjunction that either one is perceiving such and such or one is suffering an illusion (or hallucination); and that such statements are not to be viewed as introducing a report of a distinctive mental event or state common to these various disjoint situations. When Michael Hinton first introduced the idea, he suggested that the burden of (...) proof or disproof lay with his opponent, that what was needed was to show that our talk of how things look or appear to one.. (shrink)

I defend, to a certain extent, the traditional view that perceptual indiscriminability is non-transitive. The argument proceeds by considering important recent work by Benj Hellie: Hellie argues that colour perception represents ‘inexactly’, and that this results in violations of the transitivity of colour indiscriminability. I show that Hellie’s argument remains inconclusive, since he does not demonstrate conclusively that colour perception really does represent inexactly. My own argument for the non-transitivity of perceptual indiscriminability uses inexactness instead as one horn of a (...) dilemma: the key idea is that there is a class of perceptual experiences which might plausibly be supposed either to represent inexactly or to represent exactly—but which demonstrate the non-transitivity of perceptual indiscriminability either way. (shrink)

According to the epistemic theory of hallucination, the fundamental psychological nature of a hallucinatory experience is constituted by its being ‘introspectively indiscriminable’, in some sense, from a veridical experience of a corresponding type. How is the notion of introspective indiscriminability to which the epistemic theory appeals best construed? Following M. G. F. Martin, the standard assumption is that the notion should be construed in terms of negative epistemics: in particular, it is assumed that the notion should be explained in terms (...) of the impossibility that a hallucinator might possess a certain type of knowledge on a certain basis. I argue that the standard assumption is mistaken. I argue that the relevant notion of introspective indiscriminability is better construed in terms of positive epistemics: in particular, I argue that the notion is better explained by reference to the fact that it would be rational for a hallucinator positively to make a certain type of judgement, were that judgement made on a certain basis. (shrink)

In this paper, I argue that those who accept the conceptualist view in the philosophy of perception should reject the traditional view that colour indiscriminability is non-transitive. I start by outlining the general strategy that conceptualists have adopted in response to the familiar ‘fineness of grain’ objection, and I show why a commitment to what I call the indiscriminability claim seems to form a natural part of this strategy. I then show how together, the indiscriminability claim and the non-transitivity claim (...) –the claim that colour indiscriminability is non-transitive –entail a further, suspicious-looking claim that I call the problematic claim. My argument then splits into two parts. In the first part, I show why the conceptualist does indeed need to reject the problematic claim. Given that this claim is jointly entailed by the indiscriminability claim and the non-transitivity claim, the conceptualist is then left with a straight choice: reject the indiscriminability claim, or reject the non-transitivity claim. In the second part, I then explain why the conceptualist should choose the latter option. (shrink)

The Academics offered an argument from twins or perceptually indiscernible objects and an argument from dreams or madness in support of the indiscernibility thesis: that every true perceptual impression is such that some false impression just like it is possible. I claim that these arguments, unlike modern sceptical arguments, are supposed to establish mere counterfactual rather than epistemic possibilities. They purport to show that for any true perceptual impression j, there are a number of alternative causal histories j might have (...) had which would not have resulted in any change in the way in which j represents its object. (shrink)

It is obvious both that some changes are too small for us to perceive and that we can perceive constant motion. Yet according to Fara, these two facts are in conflict, and one must be rejected. I show that conflict arises only from accepting a ‘zoëtrope conception’ of change experience, according to which change experience is analysed in terms of a series of very short-lived sensory atoms, each lacking in dynamic content. On pain of denying the phenomenologically obvious, we must (...) reject the zoëtrope conception. I offer an alternative account, according to which the dynamic content of our experience at short timescales is metaphysically dependent on the content of experience over longer timescales. Moreover, at short timescales such content is purely determinable. (shrink)

This paper examines the relationship between perceptual knowledge and discrimination in the light of the so-called ‘relevant alternatives’ intuition. It begins by outlining an intuitive relevant alternatives account of perceptual knowledge which incorporates the insight that there is a close connection between perceptual knowledge and the possession of relevant discriminatory abilities. It is argued, however, that in order to resolve certain problems that face this view, it is essential to recognise an important distinction between favouring and discriminating epistemic support that (...) is often overlooked in the literature. This distinction complicates the story regarding how an alternative becomes relevant, and in doing so weakens the connection between perceptual knowledge and discrimination. The theory that results, however—what I term a ‘two-tiered’ relevant alternatives theory of perceptual knowledge—accommodates many of our intuitions about perceptual knowledge and so avoids the revisionism of some recent proposals in the epistemological literature. (shrink)

It is widely supposed that one family of sorites paradoxes, perhaps the most perplexing versions of the puzzle, owe at least in part to the nontransitivity of perceptual indiscriminability. To a first approximation, perceptual indiscriminability is the relationship obtaining among objects (stimuli) that appear identical in some perceptual respect—for example hue, or pitch, or texture. Indiscriminable objects look the same, or sound the same, or feel the same. Received wisdom has it that there are or could be series of objects (...) _o__1…_o__n in which _o_₁ and _o_₂ are indiscriminable, _o_₂ and _o_3 are indiscriminable, etc., and _o_n-1 and_ o_n are indiscriminable, but _o_1 and _o_n are discriminably different. For example, there could be a series of colored patches so ordered that each patch looks the same in hue as its immediate neighbors but the whole progresses from a clear case of red to a clear case of orange. On the assumption that an observational word like ‘red’ applies to both if to either of a pair of perceptually indiscriminable items, the absurd conclusion of the sorites comes into view. Crispin Wright explains. (shrink)

In Thomas Metzinger, Conscious Experience, Schoningh Verlag. 1995. [ online ].

This volume analyzes and studies how vagueness occurs and matters as a specific problem in the context of theories that are primarily about something else.

Early formulations of disjunctivism about perception refused to give any positive account of the nature of hallucination, beyond the uncontroversial fact that they can in some sense seem to the same to the subject as veridical perceptions. Recently, some disjunctivists have attempt to account for hallucination in purely epistemic terms, by developing detailed account of what it is for a hallucinaton to be indiscriminable from a veridical perception. In this paper I argue that the prospects for purely epistemic treatments of (...) hallucinations are dim, and that this undermines the case for disjunctivism. (shrink)

In this paper, I describe and criticize M.G.F. Martin's version of disjunctivism, and his argument for it from premises about self-knowledge.

Disjunctivism is the focus of a lively debate spanning the philosophy of perception, epistemology, and the philosophy of action. Adrian Haddock and Fiona Macpherson present 17 specially written essays, which examine the different forms of disjunctivism and explore the connections between them.

Definitions of phenomenal types (Nelson Goodman’s definition of qualia, Sydney Shoemaker’s phenomenal types, Austen Clark’s physicalist theory of qualia) imply that numerically distinct experiences can be type-identical in some sense. However, Goodman also argues that objects cannot be replicated in respect of continuous and densely ordered types. In that case, how can phenomenal types be defined for sizes, shapes and colours, which appear to be continuously ordered types? Concentrating on size, I will argue for the following points. (§2) We cannot (...) deny the possibility of replication in respect of dense types, because this would imply that particulars have determinable sizes, shapes and colours. (§3) Phenomenal sizes and shapes are determinable types; objective, or super-determinate, sizes and shapes are unknowable. (§4) We can define and know, prior to verification, groupings of objective sizes for which indiscriminability is transitive. (§5) Phenomenal identity has to be defined on the basis of these transitive groupings, because finer-grained criteria (such as Goodman’s) lead to definition of objective identity. The quality space of phenomenal types consists of overlapping but not dense types, and this prevents a collapse of phenomenal types. (shrink)

Locke’s argument for the primary-secondary quality distinction is compared with Descartes’s argument (in the Principles of Philosophy) for the distinction between mechanical modifications and sensible qualities. I argue that following Descartes, Locke’s argument for the primary-secondary quality distinction is an essentially a priori argument, based on our conception of substance, and the constraints on intelligible bodily interaction that this conception of substance sets.

In philosophical discussions of the secondary qualities, color has taken center stage. Smells, tastes, sounds, and feels have been treated, by and large, as mere accessories to colors. We are, as it is said, visual creatures. This, at least, has been the working assumption in the philosophy of perception and in those metaphysical discussions about the nature of the secondary qualities. The result has been a scarcity of work on the “other” secondary qualities. In this paper, I take smells and (...) place them front and center. I ask: What are smells? For many philosophers, the view that colors can be explained in purely physicalistic terms has seemed very appealing. In the case of smells, this kind of nonrelational view has seemed much less appealing. Philosophers have been drawn to versions of relationalism—the view that the nature of smells must be explained (at least in part) in terms of the effects they have on perceivers. In this paper, I consider a contemporary argument for this view. I argue that nonrelationalist views of smell have little to fear from this argument. (shrink)

In theorizing about perception, philosophers have often multiplied qualities. To perceptible qualities of external objects, like colors and shapes (‘sensible’ qualities), have been added qualities of experiences (‘sensory’ qualities) or of sense-data (‘sensational’ qualities). Start with sensory qualities. The phrase ‘sensory quality’ is not much in use these days, having lost out to ‘phenomenal character,’ ‘phenomenal property,’ ‘qualitative character,’ or ‘quale.’ But whatever sensory qualities are called, pinning them down is no easy matter.

Colors aren't as real as shapes. Shapes are full?fledged qualities of things in themselves, independent of how they're perceived and by whom. Colors aren't. Colors are merely qualities of things as they are for us, and the colors of things depend on who is perceiving them. When we take the fully objective view of the world, things keep their shapes, but the colors fall away, revealed as the mere artifacts of our own subjective, parochial perspective on the world that they (...) are. (shrink)

The paper presents a novel account of nature and genesis of some philosophical problems, which vindicates a new approach to an arguably central and extensive class of such problems: The paper develops the Wittgensteinian notion of ‘philosophical pictures’ with the help of some notions adapted from metaphor research in cognitive linguistics and from work on unintentional analogical reasoning in cognitive psychology. The paper shows that adherence to such pictures systematically leads to the formulation of unwarranted claims, ill-motivated problems, and pointless (...) theories. To do so, the paper proceeds from a case-study on a lastingly influential development in early modern philosophy: the adoption of the doctrine of secondary qualities, and its principal consequences. The findings motivate a new approach to an arguably extensive and important class of philosophical problems: to the problems we raise in the grip of philosophical pictures. (shrink)