Online research in philosophy

The paper argues that the reference of perceptual demonstratives is fixed in a causal nondescriptive way through the nonconceptual content of perception. That content consists first in spatiotemporal information establishing the existence of a separate persistent object retrieved from a visual scene by the perceptual object segmentation processes that open an object-file for that object. Nonconceptual content also consists in other transducable information, that is, information that is retrieved directly in a bottom-up way from the scene (motion, shape, etc). The nonconceptual content of the mental states induced when one uses a perceptual demonstrative constitutes the mode of presentation of the perceptual demonstrative that individuates but does not identify the object of perceptual awareness and allows reference to it. On that account, perceptual demonstratives put us in a de re relationship with objects in the world through the non-conceptual information retrieved directly from the objects in the environment.

The phenomenal character of perceptual experience involves the representation of colour, shape and motion. Does it also involve the representation of high-level categories? Is the recognition of a tomato as a tomato contained within perceptual phenomenality? Proponents of a conservative view of the reach of phenomenal content say 'No', whereas those who take a liberal view of perceptual phenomenality say 'Yes'. I clarify the debate between conservatives and liberals, and argue in favour of the liberal view that high-level content can directly inform the phenomenal character of perception.

Is intentionality possible without representation? This paper considers the conditions under which intentionality without representation could occur and what sort of perceptual content such intentionality would have. In addition, it considers the constraints on non-representational intentional content in organisms that have representation. The paper is divided into three parts. The first section compares and contrasts two opposed positions on non-representational intentionality, those of Herbert Dreyfus and John Searle. The second section reviews a neurobiological model that accommodates the possibility of non-representational perceptual content. The final section provides a puzzle for theories of non-representational perceptual content, specifically in connection with the perception of representations. The puzzle of representation and perception illustrates a further need for all theories of perception, both philosophical and scientific: to provide a more finely developed definition of the notion of representation.

My main thesis is this paper is that, although Dretske's distinction between simple perception and cognitive perception constitutes an important milestone in contemporary theorizing on perception, it remains too coarse to account for a number of phenomena that do not seem to fall squarely on either side of the divide. I argue that what is needed in order to give a more accurate account of perceptual phenomena is not a twofold distinction of the kind advocated by Dretske but a threefold distinction allowing for an intermediate level of perceptual content that is structured and yet non-conceptual. In the first section, I discuss Dretske's distinction between sensory perception and cognitive perception as well as a number of attendant notions. In section 2, two sets of phenomena that seem neither to constitute instances of sensory perception nor instances of cognitive perception as defined by Dretske are presented. I argue that they are evidence in favor of the existence of an intermediate level of perception. In section 3, I defend the view that this intermediate level of content is a level of structured non-conceptual perceptual content and I attempt to provide criteria for distinguishing among the three levels of content.

It is close to current orthodoxy that perceptual experience is to be characterized, at least in part, by its representational content, roughly, by the way it represents things as being in the world around the perceiver. Call this basic idea the content view (CV).

The phenomenal character of perceptual experience involves the representation of colour, spatial and temporal properties, but does it also involve the representation of high-level categories? Is the recognition of an object as a tomato encoded in the phenomenology of perception? Proponents of a conservative view of the reach of phenomenal content say “no”, whereas those who take a liberal view of perceptual phenomenology say “yes”. This paper clarifies the debate between conservatives and liberals, and provides a case in favour of the liberal position: high-level content can inform perceptual phenomenology.

The 'content view', in slogan form, is 'Perceptual experiences have representational content'. I explain why the content view should be reformulated to remove any reference to 'experiences'. I then argue, against Bill Brewer, Charles Travis and others, that the content view is true. One corollary of the discussion is that the content of perception is relatively thin (confined, in the visual case, to roughly the output of 'mid-level' vision). Finally, I argue (briefly) that the opponents of the content view are partially vindicated, because perceptual error is due to false belief.

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content structure. Also, it is highly desirable that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms.

The notion of perceptual content is commonly introduced in the analysis of perception. It stems from an analogy between perception and propositional attitudes. Both kinds of mental states, it is thought, have conditions of satisfaction. I try to show that on the most plausible account of perceptual content, it does not determine the conditions under which perceptual experience is veridical. Moreover, perceptual content must be bipolar (capable of being correct and capable of being incorrect), whereas perception as a mental state is not (if it is veridical, it is essentially so). This has profound consequences for the epistemological view that perception is a source of knowledge. I sktech a two-level epistemology which is consistent with this view. I conclude that the analogy between perception and propositional attitudes, from which the notion of perceptual content is born, may be more misleading than it is usually thought.

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation.