Online research in philosophy

The naive realist takes a veridical visual experience to be an immediate relation to external entities. Is this how such an experience is phenomenally, by its phenomenal character? Only if there can be phenomenal error, since a hallucinatory experience phenomenally matching such a veridical experience would then be phenomenally but not in fact such a relation. Fortunately, such phenomenal error can be avoided: the phenomenal character of a visual experience involves immediate awareness of a sort of picture of external entities, as on a representative theory of perception. The attraction of naive realism results from an erroneous projection of the immediacy of the subject's awareness of this picture onto the external entities pictured.

Strong or Pure Intentionalism is the claim that the phenomenal character of any perceptual experience can be exhaustively characterized solely by reference to its Intentional content. Strong or Pure Anti-Intentionalism is the claim that the phenomenal character of any perceptual experience can be exhaustively characterized solely by reference to its non-Intentional properties. In Chapters One and Two, I consider how best to delineate the opposition between these positions. I reject various characterizations of the distinction, in particular, that it can be captured in modal terms. Pure Intentionalist and Pure Anti-Intentionalist accounts can in fact share a modal profile. The most fundamental way of distinguishing Intentionalism from Anti-Intentionalism is in terms of the Intentionalist claim that experiences have contents with truth or satisfaction conditions. Characterized in this way, Intentionalism is committed to the claim that perceptual experience exhibits a certain kind of generality in that perceptual experiences essentially present their objects as being certain general ways. In contrast, the anti-Intentionalist denies that talk of seeing objects as certain kinds of object or as particular objects of those kinds provides a characterization of any aspect of the phenomenal character of perceptual experience. Anti-Intentionalist theories must, therefore, account for phenomenal character wholly in terms of particularist properties. In Chapters Three and Four, I argue that neither of these pure views of experience can do justice to the phenomenology of our ordinary perceptual encounters with the world. In Chapter Three, I contend that Pure Anti- Intentionalism, at least in the form of Bill Brewer’s Object View, fails to provide a satisfactory account of the phenomenology of aspect shifts and continuous aspect perception. Furthermore, I argue that the Object View’s accounts of perceptual illusion are ill-motivated and fundamentally unsatisfactory. In Chapter Four, I argue that Pure Intentionalism is inconsistent with the phenomenologically evident fact that experiences are durational events which unfold over time. Accordingly, the assumption that the phenomenal character of perceptual experience must be wholly characterized in terms of one kind of property, be it Intentionalist or non-Intentionalist, should be rejected. Any plausible theory of experience must appeal to different kinds of phenomenal property. In Chapter Five, I defend a view which does just this: the Catholic View of experience. The Catholic View claims that the phenomenal character of any mature human experience must be characterized in terms of both particularist and Intentional properties. I conclude by showing how this account avoids the most serious criticisms that have been levelled against the idea of non-representational, or ‘given’ elements in experience.

Strong Representationalism (SR) claims that the phenomenal character of experience is a certain kind of representational content. Furthermore, SR theorists often maintain that the phenomenal qualities of experience just are properties of the objects of experience, represented in experience.1 Another claim held by SR theorists, often cited as a reason for embracing their view, is that experience is transparent. Transparency is the phenomenon of introspection of your experience revealing nothing but the objects, properties, and relations that your experience is an experience of. In this note, I will raise a problem for SR based on its apparent difficulty in accounting for representation under an aspect at the level of phenomenal appearances. I will then discuss and briefly criticize Michael Tye’s proposed response to this sort of concern. I conclude by offering my own reply to the problem. What follows focuses on pain experience, but there is no barrier to extending these comments to certain other forms of experience, both sensory and perceptual.

My purpose is to take a close look at the nature of visual content. I discuss the view that visual experiences have only existential contents, the view that visual experiences have either singular or gappy contents, and the view that visual experiences have multiple contents. I also consider a proposal about visual content inspired by Kaplan's well known theory of indexicals. I draw out some consequences of my discussion for the thesis of intentionalism with respect to the phenomenal character of visual experience.

Abstract. When I have a conscious experience of the sky, there is a bluish way it is like for me to have that experience. We may distinguish two aspects of this "bluish way it is like for me": (i) the bluish aspect and (ii) the for-me aspect. Let us call the bluish aspect of the experience its qualitative character and the for-me aspect its subjective character. What is this elusive for-me-ness, or subjective character, of conscious experience? In this paper, I examine six different attempts to account for subjective character in terms of the functional and representational properties of conscious experiences. After arguing against the first five, I defend the sixth.

It is often claimed that the phenomenal character of visual experience is 'transparent' in that the phenomenal features of visual experience do not seem 'mental'. It is then claimed that this transparency speaks in favour of some theories of experience while speaking against others. In this paper, I advance both a negative and a positive thesis about transparency. My negative thesis is that visual phenomenal character is reticent in that it does not reveal whether it is mental or non-mental in nature. This, in turn, means that, by itself, transparency does not speak in favour of (and against) the theories it is often thought to speak in favour of (and against). My positive thesis is that the phenomenon referred to as the 'transparency' of visual phenomenal character is best characterized in spatial, not mental, terms.

I respond to three arguments aimed at establishing that natural kind properties occur in the experiential content of visual experience: the argument from phenomenal difference, the argument from mandatory seeing, and the argument from associative agnosia. I conclude with a simple argument against the view that natural kind properties occur in the experiential content of visual experience.

When I have a conscious experience of the sky, there is a bluish way it is like for me to have that experience. We may distinguish two aspects of this "bluish way it is like for me": (i) the bluish aspect and (ii) the for-me aspect. Let us call the bluish aspect of the experience its qualitative character and the for-me aspect its subjective character. What is this elusive for-me-ness, or subjective character, of conscious experience? In this paper, I examine six different attempts to account for subjective character in terms of the functional and representational properties of conscious experiences. After arguing against the first five, I defend the sixth.

My concern in this paper is with the aspect of the phenomenal character of visual experience that pertains to its spatial dimension. I shall refer to this aspect as visual space. Kant famously claimed that the representation of space is the a priori form of the faculty of sensibility. This claim is sometimes interpreted as the view that visual space is a pictorial canvas contributed by the mind on which sensations such as color experiences are organized. This reading, whether it is correct or not, consists of at least two independent claims. First, visual space is contributed by the mind. Second, visual space is a pictorial canvas. Both of theses claims, of course, demand further explication. However.

Machine generated contents note: Introduction (Katherine Hawley, University of St. Andrews and Fiona Macpherson, University of Glasgow). -- 1. Perception And The Reach Of Phenomenal Content (Tim Bayne, University of Oxford). -- 2. Seeing Causings And Hearing Gestures (Steven Butterfill, University of Warwick). -- 3. Experience And Content (Alex Byrne, Massachusetts Institute of Technology). -- 4. Is Perception A Propositional Attitude? (Tim Crane, University College London). -- 5. Conscious Reference (Alva Noë, University of California, Berkeley). -- 6. What Are The Contents Of Experiences? (Adam Pautz, University of Texas at Austin). -- 7. Aspect-Switching And Visual Phenomenal Character (Richard Price, University of Oxford). -- 8. The Visual Experience Of Causation (Susanna Siegel, Harvard University). -- 9. The Admissible Contents Of Visual Experience (Michael Tye, University of Texas at Austin). -- Index.