The purpose of this book is to develop a terminological structure in which private perceptions can be discussed publicly without bringing into existence the usual unnecessary philosophical problems of confused usage of language. chisholm displays an appraisive, quasi-ethical use of language, whereby he claims that a thing has some particular sensible property is to have adequate evidence that it actually does have that property. (staff).

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

The main question addressed in this essay is whether quarks have been observed in any sense and, if so, what might be meant by this use of the term, observation. In the first (or introductory) section of the paper, I explain that well-known researchers are divided on the answers to these important questions. In the second section, I investigate microphysical observation in general. Here I argue that Wilson's analogy between observation by means of high-energy accelerators and observation by means of (...) microscopes is misleading, for at least three reasons. Moreover, so long as high-energy observation is accomplished by means of spark or bubble chambers, then sentences about these observations do not meet Maxwell's criterion, that observation statements are quickly decidable. I argue, however, that this criterion is not a good norm for what is observable in high-energy physics, both because it would result in our describing a great many allegedly observed particle events as unobserved or theoretical, and because it fails to distinguish the reasons why some observation statements might not be quickly decidable. Most important, Maxwell's criterion fails because, contrary to Hanson's analysis, it presupposes that seeing does not involve both seeing as and seeing that.With this background concerning what is meant by general microphysical observation, in the third section of the essay, I discuss what might be meant by a more particular type of observation, that of the quark via scattering events. I employ Feinberg's distinction concerning observation of manifest, versus existent, particles and claim that the alleged indirect observation of quarks as existent particles is really based on a retroductive inference. I explain which premise in the retroductive argument appears most open to the charge of being theoretical (in a damaging sense) and less substantiated by observation. (shrink)

I critically analyse two causal analyses of seeing, by Frank Jackson and Michael Tye. I show that both are unacceptable. I argue that Jackson's analysis fails because it does not rule out cases of non-seeing. Tye's analysis seems to be superior to Jackson's in this respect, but I show that it too lets in cases of non-seeing. I also show that Tye's proposed solution to a problem for his theory -- which involves a robot that mimics another (unseen) robot -- (...) fails. Finally I show that his 'variability' requirement is not necessary, because there are cases where someone can see an object even though the variability that Tye requires does not exist. (shrink)

In order to perceive something, one must have a sense experience which it causes and which has a content that fits it appropriately. But veridical hallucinations show that more is required, viz., that the experience must also be caused by the object of perception in the right sort of way. The best account of what this amounts to is that the object causes the experience by means of a “reliable mechanism,” i.e., a causal mechanism which is generally apt to connect (...) objects to experiences with contents that fit those objects. The paper advances and defends a careful account of this position and its application to the distinction between state of affairs perception, event perception and thing perception. (shrink)

What is the nature of, and what is the relationship between, external objects and our visual perceptual experience of them? In this book, Frank Jackson defends the answers provided by the traditional Representative theory of perception. He argues, among other things that we are never immediately aware of external objects, that they are the causes of our perceptual experiences and that they have only the primary qualities. In the course of the argument, sense data and the distinction between mediate and (...) immediate perception receive detailed defences and the author criticises attempts to reduce perceiving the believing and to show that the Representative theory makes the external world unknowable. Jackson recognises that his views are unfashionable but argues in detail that they are to be preferred to their currently favoured competitors. It will become an obvious point of reference for all future work on the philosophy of perception. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

What are the conceptually necessary and sufficient conditions for a person, or organism, to perceive a given object? More precisely, what is the nature of our ordinary thought about perception that gives rise to our willingness or unwillingness to say that S perceives O? Some form of causal theory of perception is now, I think, widely accepted. Such a theory maintains that it is part of our concept of perception that S perceives O only if O causes a percept, or (...) perceptual state, of S. I accept this causal requirement, though with some qualification. The crucial problem for the theory of perception is what must be added to the causal requirement. Not all causes of a percept are said to be perceived. Smith looks at a tree illuminated by the sun, when the sun is not itself in view. His visual percept is caused by the tree, but not only the tree. The percept's causal ancestry includes the sun and the array of light two inches from Smith's eyes. Why do we say that he sees the tree, but not the sun or the array of light? What principles underlie this invidious choice among causes? Similarly, we think of a bat as perceiving objects in his path, but not as perceiving himself. Yet, since he emits the sonar signals these objects reflect, he is himself a cause of his percepts. Why don't we say he perceives himself? (shrink)

asks them would normally be taken to be committed to the belief that the phenomenon which is the subject of his inquiry is something publicly perceptible . ...

In this provocative book, Michael Tye presents his unique account of the metaphysical foundations of psychological discourse. In place of token identity theory or eliminative materialism, he advocates a generalisation of the adverbial approach to sensory experience, the 'operator theory'. He applies this to the analysis of prepositional attitudes, arguing that mental statements cannot involve reference to mental events or objects and that therefore causal statements about the mental cannot be regarded as asserting relations between events. This adverbial theory has (...) the virtue of being both simple and systematic and is an important contribution to the philosophy of mind. (shrink)