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  1. Matthew Nudds, & Casey O'Callaghan.
    The cover of this pioneering volume of essays on auditory perception is a striking photograph of Sam Van Aken’s Thumper—a head-high, spherical geodesic lattice, studded with dozens of sub-woofer speakers. Connected to five, thousand-watt amplifiers, the metal sphere emanates a droning bass sound, which loops from angry physical insistence into silence and back again. Thumper is the cover of a manifesto. Too long have philosophers been obsessed with sight. Too long have they neglected the distinctive puzzles raised by non-visual modalities, (...)
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  2. Matthew Nudds, Is Seeing Just Like Feeling? Kinds of Experiences and the Five Senses.
    In this paper I am going to argue that two commonly held views about perceptual experience are incompatible and that one must be given up. The first is the view that the five senses are to be distinguished by appeal to the kind of experiences involved in perception; the second is the view.
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  3. Matthew Nudds, Is Audio-Visual Perception 'Amodal' or 'Crossmodal'?
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  4. Matthew Nudds, Auditory Perception.
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  5. Matthew Nudds (2013). 12 Naive Realism and Hallucinations. In Fiona Macpherson & Dimitris Platchias (eds.), Hallucination. Mit Press. 271.
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  6. Louise Richardson, Fiona Macpherson, Mohan Matthen & Matthew Nudds, Symposium on Louise Richardson’s “Flavour, Taste and Smell”. Mind and Language Symposia at Brains.
  7. Matthew Nudds (2011). Children's Understanding of Perceptual Appearances. In Johannes Roessler, Hemdat Lerman & Naomi Eilan (eds.), Perception, Causation, and Objectivity. Oxford University Press.
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  8. Matthew Nudds (2011). Of Perceptual Appearances. In Johannes Roessler, Hemdat Lerman & Naomi Eilan (eds.), Perception, Causation, and Objectivity. Oxford University Press. 264.
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  9. Matthew Nudds (2011). The Senses as Psychological Kinds. In Fiona Macpherson (ed.), The Senses: Classic and Contemporary Philosophical Perspectives. Oxford.
    The distinction we make between five different senses is a universal one.<sup>1</sup> Rather than speaking of generically perceiving something, we talk of perceiving in one of five determinate ways: we see, hear, touch, smell, and taste things. In distinguishing determinate ways of perceiving things what are we distinguishing between? What, in other words, is a sense modality?<sup>2</sup> An answer to this question must tell us what constitutes a sense modality and so needs to do more than simply describe differences in (...)
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  10. Matthew Nudds (2010). What Are Auditory Objects? Review of Philosophy and Psychology 1 (1):105-122.
    Our auditory experience involves the experience of auditory objects—sequences of distinct sounds, or parts of continuous sounds—that are experienced as grouped together into a single sound or “stream” of sounds. In this paper I argue that it is not possible to explain what it is to experience an auditory object as such—i.e. to experience a sequence of sounds as grouped—in purely auditory terms; rather, to experience an auditory object as such is to experience a sequence of sounds as having been (...)
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  11. Matthew Nudds (2010). What Sounds Are. In Dean Zimmerman (ed.), Oxford Studies in Metaphysics: Volume 5. Oup Oxford.
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  12. Matthew Nudds & Casey O'Callaghan (eds.) (2010). Sounds and Perception: New Philosophical Essays. Oxford University Press.
    The views are original, and there is substantive engagement among contributors. This collection will stimulate future research in this area.
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  13. Matthew Nudds (2009). Discriminating Senses. The Philosophers' Magazine 45 (45):92-98.
    The character of our perceptual experience is such that it appears to be integrated or unified across different senses. If introspection were all we had to go on, we wouldn’t distinguish different senses at all, but would take ourselves to have a single sense and to simply perceive, but not see, or feel, or taste, etc.
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  14. Matthew Nudds (2009). Recent Work : Recent Work in Perception: Naïve Realism and its Opponents. Analysis 69 (2):334 - 346.
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  15. Matthew Nudds (2009). Recent Work in Perception: Naïve Realism and its Opponents. Analysis 69 (2):334-346.
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  16. Matthew Nudds (2009). Sounds and Space. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oup Oxford.
  17. Matthew Nudds, The Nature of the Senses.
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  18. Matthew Nudds, Auditory Perception and Sounds.
    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.
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  19. Matthew Nudds, Kinds of Experience and the Five Senses.
    In this paper I am going to argue that two commonly held views about perceptual experience are incompatible and that one must be given up. The first is the view that the five senses are to be distinguished by appeal to the kind of experiences involved in perception; the second is the view – called Representationalism – that the subjective character of perceptual experience is solely determined by what the experience represents. We could take their incompatibility as a reason for (...)
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  20. Susan L. Hurley & Matthew Nudds (eds.) (2006). Rational Animals? Oxford University Press.
    To what extent can animal behaviour be described as rational? What does it even mean to describe behaviour as rational? -/- This book focuses on one of the major debates in science today - how closely does mental processing in animals resemble mental processing in humans. It addresses the question of whether and to what extent non-human animals are rational, that is, whether any animal behaviour can be regarded as the result of a rational thought processes. It does this with (...)
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  21. Susan L. Hurley & Matthew Nudds (2006). The Questions of Animal Rationality: Theory and Evidence. In Susan L. Hurley & Matthew Nudds (eds.), Rational Animals? Oxford University Press.
     
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  22. Matthew Nudds (2004). The Significance of the Senses. Proceedings of the Aristotelian Society 104 (1):31-51.
    Standard accounts of the senses attempt to answer the question how and why we count five senses (the counting question); none of the standard accounts is satisfactory. Any adequate account of the senses must explain the significance of the senses, that is, why distinguishing different senses matters. I provide such an explanation, and then use it as the basis for providing an account of the senses and answering the counting question.
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  23. Matthew Nudds (2001). Common-Sense and Scientific Psychology. Croatian Journal of Philosophy 1 (2):171-180.
    In this paper I discuss the circumstances in which it would be right to revise a common-sense psychological categorisation -- such as the common-sense categorisation of emotions -- in the light of the results of empirical investigation. I argue that an answer to that question, familiar from eliminitivist arguments, should be rejected, and suggest that the issue turns on the ontological commitments of the explanations that common-sense psychological states enter into.
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  24. Matthew Nudds (2001). Experiencing the Production of Sounds. European Journal of Philosophy 9 (2):210-229.
    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.
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  25. Matthew Nudds (2000). Modes of Perceiving and Imagining. Acta Analytica 15 (24):139-150.
    We enjoy modes of sensory imagining corresponding to our five modes of perception - seeing, touching, hearing, smelling and tasting. An account of what constitutes these different modes of perseption needs also to explain what constitutes the corresponding modes of sensory perception. In this paper I argue that we can explain what distinguishes the different modes of sensory imagination in terms of their characteristic experiences without supposing that we must distinguish the senses in terms of the kinds of experience involved. (...)
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