Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

According to Milner and Goodale’s dual visual systems (DVS) theory, a division obtains between visual consciousness and motor action, in that the visual system producing conscious vision (the ventral stream) is distinct from the one guiding action (the dorsal stream). That there would be this division is often taken (by Andy Clark and others) to undermine the folk view on how consciousness and action relate. However, even if this division obtains, this leaves open the possibility that con- scious ventral information (...) is often transmitted to the uncon- scious dorsal stream and then used to guide action, a possibility seeming to preserve a significant role for consciousness in action. This article assesses this possibility. In course of doing so, we will review those arguments recently having been made against the DVS view on how visual consciousness and action relate (ones due to, e.g., Briscoe and Schwenkler, or Schenk and McIntosh). What we will find is that, if we properly analyze the data upon which these arguments are based, we are still left with the impression that the DVS view is largely correct; i.e., it is only rarely that visual experience guides action. (shrink)

First, we discuss issues raised with respect to the Theory of Event Coding (TEC)'s scope, that is, its limitations and possible extensions. Then, we address the issue of specificity, that is, the widespread concern that TEC is too unspecified and, therefore, too vague in a number of important respects. Finally, we elaborate on our views about TEC's relations to other important frameworks and approaches in the field like stages models, ecological approaches, and the two-visual-pathways model. Footnotes1 We acknowledge the precedence (...) of both Freud¹s Instincts and Their Vicissitudes (1915) and Neisser¹s Stimulus Information and Its Vicissitudes (a term Neisser borrowed from Freud for his monograph “Cognitive psychology,” 1967). (shrink)

Psychologists and philosophers are often tempted to make general claims about the importance of certain experimental results for our commonsense notions of intentional agency, moral responsibility, and free will. It is a strong intuition that if the agent does not intentionally control her own behavior, her behavior will not be an expression of agency, she will not be morally responsible for its consequences, and she will not be acting as a free agent. It therefore seems natural that the interest centers (...) on the notion of intentional control. If it can be experimentally shown that agents do as a matter of fact not control their own actions, even though they think they do, it will have far reaching consequences for our moral psychology. In this paper I look at recent eliminative arguments allegedly demonstrating that our commonsense notion of intentional control is incompatible with experimental data in support of the dual visual stream theory. (shrink)

Evidence for a dichotomy between the planning of an action and its on-line control in humans is reviewed. This evidence suggests that planning and control each serve a specialized purpose utilizing distinct visual representations. Evidence from behavioral studies suggests that planning is influenced by a large array of visual and cognitive information, whereas control is influenced solely by the spatial characteristics of the target, including such things as its size, shape, orientation, and so forth. Evidence from brain imaging and neuropsychology (...) suggests that planning and control are subserved by separate visual centers in the posterior parietal lobes, each constituting part of a larger network for planning and control. Planning appears to rely on phylogenetically newer regions in the inferior parietal lobe, along with the frontal lobes and basal ganglia, whereas control appears to rely on older regions in the superior parietal lobe, along with the cerebellum. Key Words: action; apraxia; control; illusions; optic ataxia; PET; planning; reaching;. (shrink)

What is the role of conscious visual experience in the control and guidance of human behaviour? According to some recent treatments, the role is surprisingly indirect. Conscious visual experience, on these accounts, serves the formation of plans and the selection of action types and targets, while the control of 'online' visually guided action proceeds via a quasi-independent non-conscious route. In response to such claims, critics such as (Wallhagen [2007], pp. 539-61) have suggested that the notions of control and guidance invoked (...) are unacceptably vague, and that that the image of 'zombie systems' guiding action fails to take account of the possibility that there is genuine but unconceptualized, unnoticed, and/or unreportable experience taking place and guiding or controlling the actions. I address both sets of concerns. I try to show that refining and clarifying the key notions of control and guidance leaves the original argument intact, as does the appeal to unconceptualized, unnoticed, or unreportable experiences. The exercise serves, however, to highlight an important complex of considerations concerning the relations between control, agency, and experience. Better understanding these relations is, I suggest, an important source of insights concerning the nature of phenomenal experience. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and (I shall argue) philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea (which I (...) shall call the Assumption of Experience-Based Control) is hostage to empirical fortune. It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale (1995) argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides (I shall argue) fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea is hostage to empirical fortune. (...) It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

It is natural to assume that the fine-grained and highly accurate spatial information present in visual experience is often used to guide our bodily actions. Yet this assumption has been challenged by proponents of the Two Visual Systems Hypothesis , according to which visuomotor programming is the responsibility of a “zombie” processing stream whose sources of bottom-up spatial information are entirely non-conscious . In many formulations of TVSH, the role of conscious vision in action is limited to “recognizing objects, selecting (...) targets for action, and determining what kinds of action, broadly speaking, to perform” . Our aim in this study is to show that the available evidence not only fails to support this dichotomous view but actually reveals a significant role for conscious vision in motor programming, especially for actions that require deliberate attention. (shrink)

In this paper, I join the so-called voluntarism debate on Descartes’s theory of will and judgment, arguing for an indirect doxastic voluntarism reading of Descartes, as opposed to a classic, or direct doxastic voluntarism. More specifically, I examine the question whether Descartes thinks the will can have a direct and full control over one’s suspension of judgment. Descartes was a doxastic voluntarist, maintaining that the will has some kind of control over one’s doxastic states, such as belief and doubt. According (...) to a long-held reading, the control that the will has over doxastic states in Descartes’s theory is direct; the doxastic states are affected by the mere act of will. This reading is called direct doxastic voluntarism (DDV), or direct voluntarism (DV) for short, and it states that we are capable of assenting, rejecting and suspending a judgment based only on our will to do so. Thus, these actions would be utterly and merely volitional. DV can be divided into two further positions, direct positive voluntarism (+DV) and direct negative voluntarism (-DV). Direct positive voluntarism deals with the act of forming judgments, maintaining that one can accept or deny a proposition wilfully and either merely believe or not believe something voluntarily. Direct negative voluntarism deals with the suspension of judgment, maintaining that it can likewise be accomplished by a simple act of will. However, I support an alternate account of Descartes’s voluntarism, which is called indirect doxastic voluntarism (IDV), or indirect voluntarism (IV) for short. By this account, the will is capable of affecting a doxastic state indirectly by making one concentrate on essential tasks for forming that state, such as gathering up and paying attention to strong reasons and evidence. IV is also possible to divide into indirect positive voluntarism (+IV) and indirect negative voluntarism (-IV). Per indirect positive voluntarism the will needs to pay attention to reasons for accepting or denying some proposition. Likewise, by indirect negative voluntarism, in order to suspend judgment the will needs to direct this attention to the reasons for doubt. By attending to these reasons, the will also comes face-to-face with its own freedom. This feeling of freedom can be described as affectivity of the reasons for belief (assent) and doubt (suspension). (shrink)

The purpose of this paper is to defend what I call the action-oriented coding theory (ACT) of spatially contentful visual experience. Integral to ACT is the view that conscious visual experience and visually guided action make use of a common subject-relative or 'egocentric' frame of reference. Proponents of the influential two visual systems hypothesis (TVSH), however, have maintained on empirical grounds that this view is false (Milner & Goodale, 1995/2006; Clark, 1999; 2001; Campbell, 2002; Jacob & Jeannerod, 2003; Goodale & (...) Milner, 2004). One main source of evidence for TVSH comes from behavioral studies of the comparative effects of size-contrast illusions on visual awareness and visuo- motor action. This paper shows that not only is the evidence from illusion studies inconclusive, there is a better, ACT-friendly interpretation of the evidence that avoids serious theoretical difficulties faced by TVSH. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)