Perception

The diverse essays in this volume speak to the relevance of phenomenological and psychological questioning regarding perceptions of the human. This designation, human, can be used beyond the mere identification of a species to underwrite exclusion, denigration, dehumanization and demonization, and to set up a pervasive opposition in Othering all deemed inhuman, nonhuman, or posthuman. As alerted to by Merleau-Ponty, one crucial key for a deeper understanding of these issues is consideration of the nature and scope of perception. Perception defines (...) the world of the perceiver, and perceptual capacities are constituted in engagement with the world – there is co-determination. Moreover, the distinct phenomenology of perception in the spectatorial mode in contrast to the reciprocal mode, deepens the intersubjective and ethical dimensions of such investigations. -/- Questions motivating the essays include: Can objectification and an inhuman gaze serve positive ends? If so, under what constraints and conditions? How is an inhuman gaze achieved and at what cost? How might the emerging insights of the role of perception into our interdependencies and essential sociality from various domains challenge not only theoretical frameworks, but also the practices and institutions of science, medicine, psychiatry and justice? What can we learn from atypical social cognition, psychopathology and animal cognition? Could distortions within the gazer’s emotional responsiveness and habituated aspects of social interaction play a role in the emergence of an inhuman gaze? -/- Perception and the Inhuman Gaze will interest scholars and advanced students working in phenomenology, philosophy of mind, psychology, psychiatry, sociology and social cognition. -/- Table of Contents -/- Introduction -/- Part I. The Gaze in Classical Phenomenology: Perspectives on Objectification -/- 1. Defending the Objective Gaze as a Self-transcending Capacity of Human Subjects -/- Dermot Moran -/- 2. Two Orders of Bodily Objectification: The Look and the Touch -/- Sara Heinämaa -/- 3. On Eliminativism’s Transient Gaze -/- Timothy Mooney -/- 4. Not wholly human. Reading Maurice Merleau-Ponty with Jacques Lacan. -/- Dorothée Legrand -/- 5. Disclosure and the Gendered Gaze in Simone de Beauvoir's Ethics -/- Christinia Landry -/- Part II. Vision, Perception and Gazes -/- 6. Inside the gaze -/- Shaun Gallagher -/- 7. Perception and its Objects. -/- Maurita Harney -/- 8. Technological Gaze: Understanding How Technologies Transform Perception -/- Richard Lewis -/- 9. The Inhuman Gaze and Perceptual Gestalts: The Making and Unmaking of Others and Worlds -/- Anya Daly -/- Part III. Psychiatry, Psychopathology and Inhuman Gazes -/- 10. Values and Values-based Practice in Psychopathology: Combining Analytic and Phenomenological Approaches -/- G Stanghellini and K.W.M. (Bill) Fulford -/- 11. The Inhuman and Human Gaze in Psychiatry, Psychopathology and Schizophrenia. -/- Matthew Broome -/- 12. Overcoming the Gaze: Psychopathology, Affect, and Narrative. -/- Anna Bortolan -/- 13. From excess to exhaustion : The rise of burnout in a post-modern achievement society. -/- Philippe Wuyts -/- 14. Blackout Rages: The Inhibition of Episodic Memory in Extreme Berserker Episodes -/- John Protevi -/- Part IV. Beyond the Human: Divine, Posthuman and Animal Gazes -/- 15. Wondering at the Inhuman Gaze -/- Sean. D. Kelly -/- 16. What Counts as Human/ Inhuman Right Now? -/- Rosi Braidotti -/- 17. Beyond Human and Animal: Metamorphosis in Merleau-Ponty -/- Dylan Trigg -/- Part V. Sociality and Boundaries of the Human -/- 18. Voice and gaze considered together in ‘languaging’. -/- Fred Cummins -/- 19. Ethics Beyond the Human: Disability and The Inhuman -/- Jonathan Mitchell -/- 20. Social Invisibility and Emotional Blindness -/- James Jardine -/- 21. What are you looking at? Dissonance as a window on the autonomy of participatory sense-making frames. -/- Mark James. (shrink)

What do we see in a mirror? There is an ongoing debate whether mirrors present us with images of objects or whether we see, through the mirror, the objects themselves. Roberto Casati has recently argued that there is a categorical difference between images and mirror-reflections. His argument depends on the observation that mirrors, but not paintings, are sensitive to changes in the observer’s prospective. In our paper we scrutinize Casati’s argument and present a modal argument that shows that it cannot (...) establish this conclusion. We suggest that Casati’s line of reasoning suffers from the fact that he does not take dynamic images, i.e., images that change over time, into account. (shrink)

Recently, in metaethics, several authors have taken into account the view according to which moral knowledge can be based on perceptual or quasi-perceptual experience. This kind of knowledge is defined as moral perception. This paper aims to introduce the recent debate about moral perception. Specifically, the possibility of moral perception will be discussed, and many different views of moral perception will be compared.

The paper explores what it could mean to speak of love as involving a delight in ‘the simple actuality’ of another, or, as Buber does, of the ‘touchable’ human being as ‘unique and devoid of qualities’. Developing strands in Merleau-Ponty’s treatment of perception, it is argued that the relation between recognising this as a particular individual and recognising particular qualities in her may be close to the reverse of what might be supposed: a recognition of this distinctive smile being dependent (...) on a recognition of who this is. The fundamental place of particulars, as opposed to kinds, in our thought about those we know and care for is developed in part through a phenomenological treatment of our perception of faces. That treatment is set in a context of the justification of our judgements about who someone is, and is linked with a critique of treatments of proper names of individuals in the spirit of Frege. It is in our speaking to those we know that we find a relation to a particular that is direct—not mediated by a description of its properties—that Russell sought in ‘knowledge by acquaintance’. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...) Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

Programming artificial intelligence to make fairness assessments of texts through top-down rules, bottom-up training, or hybrid approaches, has presented the challenge of defining cross-cultural fairness. In this paper a simple method is presented which uses vectors to discover if a verb is unfair or fair. It uses already existing relational social ontologies inherent in Word Embeddings and thus requires no training. The plausibility of the approach rests on two premises. That individuals consider fair acts those that they would be willing (...) to accept if done to themselves. Secondly, that such a construal is ontologically reflected in Word Embeddings, by virtue of their ability to reflect the dimensions of such a perception. These dimensions being: responsibility vs. irresponsibility, gain vs. loss, reward vs. sanction, joy vs. pain, all as a single vector. The paper finds it possible to quantify and qualify a verb as fair or unfair by calculating the cosine similarity of the said verb’s embedding vector against FairVec—which represents the above dimensions. We apply this to Glove and Word2Vec embeddings. Testing on a list of verbs produces an F1 score of 95.7, which is improved to 97.0. Lastly, a demonstration of the method’s applicability to sentence measurement is carried out. (shrink)

Hohwy et al.’s (2008) model of binocular rivalry (BR) is taken as a classic illustration of predictive coding’s explanatory power. I revisit the account and show that it cannot explain the role of reward in BR. I then consider a more recent version of Bayesian model averaging, which recasts the role of reward in (BR) in terms of optimism bias. If we accept this account, however, then we must reconsider our conception of perception. On this latter view, I argue, organisms (...) engage in what amounts to policy-driven, motivated perception. (shrink)

One necessary condition on any adequate account of perception is clarity regarding whether unconscious perception exists. The issue is complicated, and the debate is growing in both philosophy and science. In this paper we consider the case for unconscious perception, offering three primary achievements. First, we offer a discussion of the underspecified notion of central coordinating agency, a notion that is critical for arguments that purportedly perceptual states are not attributable to the individual, and thus not genuinely perceptual. We develop (...) an explication of what it is for a representational state to be available to central coordinating agency for guidance of behavior. Second, drawing on this explication, we place a more careful understanding of the attributability of a state to the individual in the context of a range of empirical work on vision-for-action, saccades, and skilled typing. The results place pressure on the skeptic about unconscious perception. Third, reflecting upon broader philosophical themes running through debates about unconscious perception, we highlight how our discussion places pressure on the view that perception is a manifest kind, rather than a natural kind. In doing so, we resist the tempting complaint that the debate about unconscious perception is merely verbal. (shrink)

Reality exists independently of human observers, but does the same apply to its structure? Realist ontologies usually assume so: according to them, the world consists of objects, these have properties and enter into relations with each other, more or less as we are accustomed to think of them. -/- Against this view, Rein Raud develops a radical process ontology that does not credit any vantage point, any scale or speed of being, any range of cognitive faculties with the privilege to (...) judge how the world ‘really’ is. In his view, what we think of as objects are recast as fields of constitutive tensions, cross-sections of processes, never in complete balance but always striving for it and always reconfiguring themselves accordingly. The human self is also understood as a fluctuating field, not limited to the mind but distributed all over the body and reaching out into its environment, with different constituents of the process constantly vying for control. -/- The need for such a process philosophy has often been voiced, but rarely has there been an effort to develop it in a systematic and rigourous manner that leads to original accounts of identity, continuity, time, change, causality, agency and other topics. Throughout his new book, Raud engages with an unusually broad range of philosophical schools and debates, from New Materialism and Object-Oriented Ontology to both phenomenological and analytical philosophy of mind, from feminist philosophy of science to neurophilosophy and social ontology. (shrink)

My dissertation contributes to a central and ongoing debate in the philosophy of perception about the fundamental nature of perceptual states. Such states include cases like seeing, hearing, and tasting, as well as cases of merely seeming to see, hear, and taste. A central question about these states arises in light of misperceptual phenomena. While a commonsensical view of perceptual states construes them as simply relating us to the external and mind independent world, some misperceptual cases suggest that these states (...) fall short of such world-contact. The result is that perceptual states are either thought to fundamentally consist in a highest common factor that falls short of perceptual contact with the world, or are thought to be disjunctive in nature, with some cases involving perceptual contact, and others receiving a different analysis. Contrary to these views, I argue that no misperceptual cases compromise perceptual contact with the world. So perceptual starts should be thought in terms of a relation to the external and mind-independent world. I call this view I defend 'pure relationalism', and the view of misperceptual cases that makes pure relationalism possible 'illusionism'. (shrink)

This book proposes and defends a new theory of emotional experience. Drawing on recent developments in the philosophy of emotion, with links to contemporary philosophy of mind, it argues that emotional experiences are sui generis states, not to be modelled after other mental states – such as perceptions, judgements, or bodily feelings – but given their own analysis and place within our mental economy. More specifically, emotional experiences are claimed to be feelings-towards-values.

I argue that we can visually perceive others as seeing agents. I start by characterizing perceptual processes as those that are causally controlled by proximal stimuli. I then distinguish between various forms of visual perspective-taking, before presenting evidence that most of them come in perceptual varieties. In doing so, I clarify and defend the view that some forms of visual perspective-taking are “automatic”—a view that has been marshalled in support of dual-process accounts of mindreading.

Conservation of a circle explains (the human) mind.

In a series of three behavioral experiments, we found a systematic distortion of probability judgments concerning elementary visual stimuli. Participants were briefly shown a set of figures that had two features (e.g., a geometric shape and a color) with two possible values each (e.g., triangle or circle and black or white). A figure was then drawn, and participants were informed about the value of one of its features (e.g., that the figure was a “circle”) and had to predict the value (...) of the other feature (e.g., whether the figure was “black” or “white”). We repeated this procedure for various sets of figures and, by varying the statistical association between features in the sets, we manipulated the probability of a feature given the evidence of another (e.g., the posterior probability of hypothesis “black” given the evidence “circle”) as well as the support provided by a feature to another (e.g., the impact, or confirmation, of evidence “circle” on the hypothesis “black”). Results indicated that participants’ judgments were deeply affected by impact, although they only should have depended on the probability distributions over the features, and that the dissociation between evidential impact and posterior probability increased the number of errors. The implications of these findings for lower and higher level cognitive models are discussed. (shrink)

Raftopoulos’s most recent book argues, among other things, for the cognitive impenetrability of early vision. Before we can assess any such claims, we need to know what’s meant by “early vision” and by “cognitive penetration”. In this contribution to this book symposium, I explore several different things that one might mean – indeed, that Raftopoulos might mean – by these terms. I argue that whatever criterion we choose for delineating early vision, we need a single criterion, not a mishmash of (...) distinct criteria. And I argue against defining cognitive penetration in partly epistemological terms, although it is fine to offer epistemological considerations in defending some definitions as capturing something of independent interest. Finally, I raise some questions about how we are to understand the “directness” of certain putative cognitive influences on perception and about whether there’s a decent rationale for restricting directness in the way that Raftopoulos apparently does. (shrink)

The world as we perceive it is structured into objects, actions and places that form parts of events. In this article, my aim is to explain why these categories are cognitively primary. From an empiricist and evolutionary standpoint, it is argued that the reduction of the complexity of sensory signals is based on the brain's capacity to identify various types of invariances that are evolutionarily relevant for the activities of the organism. The first aim of the article is to explain (...) why places, object and actions are primary cognitive categories in our constructions of the external world. It is shown that the invariances that determine these categories have their separate characteristics and that they are, by and large, independent of each other. This separation is supported by what is known about the neural mechanisms. The second aim is to show that the category of events can be analyzed as being constituted of the primary categories. The category of numbers is briefly discussed. Some implications for computational models of the categories are also presented. (shrink)

Many daily life events, from lotteries to coincidental encounters, occur partly or entirely randomly or “by chance.” Six experiments, in two different languages, explored how perceptions of randomness are related to the perceived probability of the same events—specifically, whether low-probability events were viewed as more random than similar events that were judged (rightly or wrongly) to be more likely. The experiments suggest that low-probability outcomes of stochastic events are indeed considered as being more random than medium and highly likely outcomes, (...) even when all are produced by a “blind” (hence random) process. Degree of randomness involved in catching a bus was inversely related to the subjective probability estimates of the same event, both for correct and incorrect estimates. Unlikely coincidences were perceived to be more random than the same events presented in a more likely frame. The outcome of a match between two soccer teams was deemed to be more random when the weaker team wins than when the stronger team wins. Only extremely deviant outcomes—for instance, a top student who fails on two successive exams—made some people reject the randomness account, presumably believing that such extreme events must have a causal explanation. We conclude that people generally associate randomness with low-probability events, indicating outcomes that “cannot be predicted.”. (shrink)

In the flash-lag effect a non-moving object is quickly flashed directly underneath a moving object, which leads us to perceive the non-moving object as “lagging” the moving object, even though the two objects actually occupy the same horizontal position at the time of the flash. In the example above, for instance, a red square moves across a screen. At the midpoint of the red square’s journey from one side to the other, a green square is quickly presented (flashed) just below. (...) Despite the fact that the two stimuli are presented at the same coordinates along the x axis, the stationary square is perceived as behind the moving square. The perceived lag of the flashed stationary object becomes greater when the speed of the moving object is increased and vice versa (Nijhawan 1994). (shrink)

Although some still advance reductive accounts of emotions—according to which they fall under a more familiar type of mental state—contemporary philosophers tend to agree that emotions probably constitute their own kind of mental state. Agreeing with this claim, however, is compatible with attempting to find commonalities between emotions and better understood things. According to the advocates of the so-called ‘perceptual analogy’, thinking of emotion in terms of perception can fruitfully advance our understanding even though emotion may not be reducible to (...) ordinary perception. In this paper, I spell out and motivate a different analogy—that between emotion and action—an analogy which I think can do some important theoretical work. In particular, it constitutes a theoretically fruitful way to think about core aspects of emotions and might in fact be employed to provide a better account of certain aspects of emotions than the one based on the perceptual analogy. Emotions might not be a matter of seeing the world a certain way, but a matter of behaving internally in response to it. In a slogan form: Emotion is the inward counterpart of bodily movement. (shrink)

A new type of impossible picture is presented and described. The picture involves an object along with its reflection in a plane mirror, delivering two apparently irreconcilable views of the object itself when seen simultaneously in its flesh and in the mirror. Contrary to other, more familiar impossible pictures, its interpretation requires explicit reasoning about the represented reality. It is a slow impossible picture.

Does the human mind resemble the machines that can behave like it? Biologically inspired machine-learning systems approach “human-level” accuracy in an astounding variety of domains, and even predict human brain activity—raising the exciting possibility that such systems represent the world like we do. However, even seemingly intelligent machines fail in strange and “unhumanlike” ways, threatening their status as models of our minds. How can we know when human–machine behavioral differences reflect deep disparities in their underlying capacities, vs. when such failures (...) are only superficial or peripheral? This article draws on a foundational insight from cognitive science—the distinction between performance and competence—to encourage “species-fair” comparisons between humans and machines. The performance/competence distinction urges us to consider whether the failure of a system to behave as ideally hypothesized, or the failure of one creature to behave like another, arises not because the system lacks the relevant knowledge or internal capacities (“competence”), but instead because of superficial constraints on demonstrating that knowledge (“performance”). I argue that this distinction has been neglected by research comparing human and machine behavior, and that it should be essential to any such comparison. Focusing on the domain of image classification, I identify three factors contributing to the species-fairness of human–machine comparisons, extracted from recent work that equates such constraints. Species-fair comparisons level the playing field between natural and artificial intelligence, so that we can separate more superficial differences from those that may be deep and enduring. (shrink)

Introduction to the topical collection "The Structure of Perceptual Objects"—with contributions by Mohan Matthen, EJ Green, Alisa Mandrigin, Blazej Skrzypulec, and Anna Drożdżowicz.

Neuroscientific discourse on consciousness often resorts to "collection of elements", notwithstanding the Gestalt demonstrations against representing conscious experience as a collection of sensory elements. Here I show that defining conscious experience as an object of the category of conscious experiences, instead of as cohesion-less set of structure-less elements, provides the conceptual repertoire—basic shapes, figures, and incidence relations—needed to reason about the essence of conscious experiences and the essence-preserving transformations of conscious experiences. Viewed in light of the category of conscious experiences, (...) designers of user experience—in designing pre-conceptualized user experiences—are well situated to contribute to the development of the science of consciousness. (shrink)

This article tries to pinpoint the mechanism behind concept formation, which is grounded in the conductivity of a cell.

On the traditional picture, accidents must inhere in substances in order to exist. Berkeley famously argues that a particular class of accidents—the sensible qualities—are mere ideas; entities that depend for their existence on minds. To defend this view, Berkeley provides us with an elegant alternative to the traditional framework: sensible qualities depend on a mind, not in virtue of inhering in it, but in virtue of being perceived by it. This metaphysical insight, once correctly understood, gives us the resources to (...) solve a central problem that still plagues the philosophy of perception: the problem of how, given the power of the mind to create phenomenally rich experiences, ordinary perception can nonetheless be said to acquaint us with the mind-independent world. (shrink)

Working with the assumption that properties depend for their instantiation on substances, I argue against a unitary analysis of instantiation. On the standard view, a property is instantiated just in case there is a substance that serves as the bearer of the property. But this view cannot make sense of how properties that are mind-dependent depend for their instantiation on minds. I consider two classes of properties that philosophers often take to be mind-dependent: sensible qualities like color, and bodily sensations (...) like itches. Given that the mind is never itself literally red or itchy, we cannot explain the instantiation of these qualities as a matter of their having a mental bearer. Appealing to insights from Berkeley, I defend a view on which a property can be instantiated not in virtue of having a bearer—mental or material—but rather in virtue of being the object of a conscious act of perception. In the second half of the paper, I suggest that the best account of sensible qualities and bodily sensations ultimately makes use of both varieties of instantiation. (shrink)

Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...) Any weak degree of clarity, available to the senses, can be merely subjective, since what it presents as true may not actually be true. But complete clarity, available to intellectual perception, has an objective dimension, since what it presents as true is always some truth, some bit of reality. Further, I argue that the other perceptual qualities that Descartes identifies — obscurity, confusion, and distinctness — are all defined in terms of clarity. Of particular note is the fact that distinctness is not a positive feature to be added to clarity: a distinct perception is just a completely clear perception. (shrink)

ABSTRACT: Central to both James’s earlier psychology and his later philosophical views was a recurring distinction between percepts and concepts. The distinction evolved and remained fundamental to his thinking throughout his career as he sought to come to grips with its fundamental nature and significance. In this chapter, I focus initially on James’s early attempt to articulate the distinction in his 1885 article “The Function of Cognition.” This will highlight a key problem to which James continued to return throughout his (...) later philosophical work on the nature of our cognition, including in his famous “radical empiricist” metaphysics of “pure experience” around the turn of the century. We shall find that James grappled insightfully but ambivalently with the perceptual and conceptual dimensions of the “knowledge relation” or the “cognitive relation,” as he called it—or what, following Franz Brentano, philosophers would later call our object-directed thought or intentionality more generally. Some philosophers have once again returned to James’s work for crucial insights on this pivotal topic, while others continue to find certain aspects of his account to be problematic. What is beyond dispute is that James’s inquiries in this domain were both innovative and of lasting significance. (shrink)

At the beginning of the 20th century, Gestalt psychologists put forward the concept of psychoneural isomorphism, which was meant to replace Fechner’s obscure notion of psychophysical parallelism and provide a heuristics that may facilitate the search for the neural correlates of the mind. However, the concept has generated much confusion in the debate, and today its role is still unclear. In this contribution, I will attempt a little conceptual spadework in clarifying the concept of psychoneural isomorphism, focusing exclusively on conscious (...) visual perceptual experience and its neural correlates. Firstly, I will outline the history of our concept, and its alleged metaphysical and epistemic roles. Then, I will clarify the nature of isomorphism and rule out its metaphysical role. Finally, I will review some epistemic roles of our concept, zooming in on the work of Jean Petitot, and suggest that it does not play a relevant heuristic role. I conclude suggesting that psychoneural isomorphism might be an indicator of robustness for certain mathematical descriptions of perceptual content. (shrink)

Hume appeals to a mysterious mental process to explain how to world appears to possess features that are not present in sense perceptions, namely causal, moral, and aesthetic properties. He famously writes that the mind spreads itself onto the external world, and that we stain or gild natural objects with our sentiments. Projectivism is founded on these texts but it assumes a reading of Hume’s language as merely metaphorical. This assumption, however, conflicts sharply with the important explanatory role that “spreading” (...) and “staining” are supposed to play, which, ironically, is the very appeal of Hume’s texts to projectivists. In this paper, I first consider the difficulties readers of Hume have encountered in their attempts to ascertain nature of the key psychological process. I then identify in Hume’s texts novel theoretical resources that allow Hume to produce a satisfying answer to the question of process, that is, an account of the precise nature of the key process. I offer this explanation assuming what I take to be Hume’s austere conception of the elements involved in the process: sense impressions and “internal impressions” lacking intrinsic intentionality. On my reading, the spreading process explains the gap between the meager input and the rich, novel output: causal, moral and aesthetic judgments. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in (...) the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

At first blush, phenomenology seems to be concerned preeminently with questions of knowledge, truth, and perception, and yet closer inspection reveals that the analyses of these phenomena remain bound up with language and that consequently phenomenology is, inextricably, a philosophy of language. Drawing on the insights of a variety of phenomenological authors, including Husserl, Heidegger, Merleau-Ponty, Gadamer, and Ricoeur, this collection of essays by leading scholars articulates the distinctively phenomenological contribution to language by examining two sets of questions. The first (...) set of questions concerns the relatedness of language to experience. Studies exhibit the first-person character of the philosophy of language by focusing on lived experience, the issue of reference, and disclosive speech. The second set of questions concerns the relatedness of language to intersubjective experience. Studies exhibit the second-person character of the philosophy of language by focusing on language acquisition, culture, and conversation. This book will be of interest to scholars of phenomenology and philosophy of language. (shrink)

This article clarifies the nature of meta-emotions, and it surveys the prospects of applying a version of the perceptualist model of emotions to them. It first considers central aspects of their intentionality and phenomenal character. It then applies the perceptualist model to meta-emotions, addressing issues of evaluative content and the normative dimension of meta-emotional experience. Finally, in considering challenges and objections, it assesses the perceptualist model, concluding that its application to meta-emotions is an attractive extension of the theory, insofar as (...) it captures some distinctive features of meta-emotions—specifically their normative dimension—while locating them within the domain of occurrent affective experiences. (shrink)

Review of Jean Moritz Müller, The World-Directedness of Emotional Feeling.

Philosophy and Phenomenological Research, EarlyView.

Various prominent theories of pain assume that it is pain’s biological function to inform organisms about damage to their bodies. I argue that this is a mistake. First, there is no biological evidence to support the notion that pain was originally selected for its informative capacities, nor that it currently contributes to the fitness of organisms in this specific capacity. Second, neurological evidence indicates that modulating mechanisms in the nociceptive system systematically prevent pain from serving a primarily informative role. These (...) considerations threaten to undermine standard perceptual and representational accounts of pain. (shrink)

Il libro prende in esame la percezione come il modo in cui gli oggetti del mondo esterno entrano a far parte della nostra esperienza cosciente. Il corpo, da un lato, gli oggetti del mondo che ci circonda, dall'altro, verranno messi nel loro posto di argomento rispetto alla metafisica della nostra esperienza percettiva.

The goal of this piece is to put some pressure on Brian O’Shaughnessy’s claim that perceptual experiences are necessarily mental processes. The author targets two motivations behind the development of that view. First, O’Shaughnessy resorts to pure conceptual analysis to argue that perceptual experiences are processes. The author argues that this line of reasoning is inconclusive. Secondly, he repeatedly invokes a thought experiment concerning the total freeze of a subject’s experiential life. Even if this case is coherent, however, it does (...) not show that perceptual experiences are processes. (shrink)

In this paper, I discuss the use of after-effects as a criterion for showing that we can perceive high-level properties. According to this criterion, if a high-level property (for example, an emotional expression) is susceptible to after-effects, this suggests that the property can be perceived, rather than cognized. The defenders of the criterion claim that, since after-effects are also present for low-level, uncontroversially perceptual properties (such as orientation), we can safely infer that high-level after-effects are perceptual as well. The critics (...) of the criterion, on the other hand, assimilate it to superficially similar effects in cognition (such as decision biases) and argue that the after-effect criterion is a cognitive phenomenon rather than a perceptual one, and that as a result it is not a reliable guide for exploring the contents of perception. I argue against both of these views and show that high-level after-effects cannot be identified either with low-level after-effects or with cognitive biases. I suggest an intermediate position: high-level after-effects are not cognitive, but they are nonetheless not a good criterion for exploring the contents of perception. (shrink)

Precis of Aesthetics as Philosophy of Perception.