Online research in philosophy

In this major reinterpretation, Howard Caygill argues that all of Benjamin's work is characterized by its focus on a concept of experience derived from Kant but applied by Benjamin to objects as diverse as urban experience, visual art, literature and philosophy. The book analyzes the development of Benjamin's concept of experience in his early writings showing that it emerges from an engagement with visual experience, and in particular the experience of colour. By representing Benjamin as primarily a thinker of the visual field, Caygill is able to bring forward previously neglected texts on inscription and the visual field and to cast many of his more familiar texts, for instance the Work of Art in an Age of Mechanical Reproduction in a new light.

Ross argues that the location problem for color-the problem of how it is represented as occupying a particular location in space-constitutes an objection to color subjectivism. There are two ways in which the location problem can be interpreted. First, it can be read as a why-question about the relation of visual experience to the environment represented: Why does visual experience represent a patch of color as located in this part of space rather than that? On this interpretation, the subjectivist can answer Ross's objection by appealing to the physical location of reflectance rather than color. Second, it can be read as a how-question about visual representation itself: How does visual experience put together the experience of a color with the experience of its being located in space? This version makes the location problem a problem about visual experience itself and renders the ontology of color irrelevant to its solution. The location problem is thus no more a problem for the color subjectivist than for the color realist.

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.

I argue against a Disjunctive approach to visual experience. I then critique three 'common-factor' views: Qualia Theory, Intentionalism and Sense-Date Theory. The latter two are combined to form Intentional Trope Theory; and that view is defended.

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.

Abstract: In this paper I consider recent attempts to establish that the geometry of visual experience is a spherical geometry. These attempts, offered by Gideon Yaffe, James van Cleve and Gordon Belot, follow Thomas Reid in arguing for an equivalency of a geometry of ‘visibles’ and spherical geometry. I argue that although the proposed equivalency is successfully established by the strongest form of the argument, this does not warrant any conclusion about the geometry of visual experience. I argue, firstly, that the resistance of this contemporary argument to empirical considerations counts against its plausibility. Moreover, I argue that the contemporary approach provides no compelling reason for supposing that the geometry offered as the geometry of ‘visibles’ is the correct geometrical description of visual experience.

Both visual experience and conscious thought represent external objects, but in visual experience these objects seem present before the mind and available for direct access in a way that they don’t in conscious thought. In this paper, I introduce a couple of challenges that this “Scene-Immediacy” of visual experience raises for traditional versions of Representationalism. I then identify a resource to which Representationalists can appeal in addressing these challenges: the low-detail fringe of visual experience. I argue that low-detail contents within visual experience provide the mind with a rich access to additional high-detail information, an access that is not found in conscious thought. This access, in turn, speaks to the challenges raised by the Scene-Immediacy of visual experience.

In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of ...

John Searle and Susanna Siegel have argued that cases of aspect-switching show that visual experience represents a richer range of properties than colours, shapes, positions and sizes. I respond that cases of aspect-switching can be explained without holding that visual experience represents rich properties. I also argue that even if Searle and Siegel are right, and aspect-switching does require visual experience to represent rich properties, there is reason to think those properties do not include natural-kind properties, such as being a tomato.

In this paper, I argue that certain perceptual relations are represented in visual experience.