The interpretive-sensory access theory of self-knowledge claims that we come to know our own minds by turning our capacities for knowing other minds onto ourselves. Peter Carruthers argues that two of the theory’s advantages are empirical adequacy and scientific fruitfulness: it leaves few of the old discoveries unexplained and makes new predictions that provide a framework for new discoveries. A decade has now passed since the theory’s introduction. I review the most important developments during this time (...) period regarding the two criteria: whether the theory’s six main predictions were supported, and whether the theory’s predictions contributed to new empirical studies. I argue that the interpretive-sensory access theory of self-knowledge remains empirically adequate and scientifically fruitful. (shrink)

The interpretive-sensory access theory of self-knowledge claims that one knows one’s own mind by turning one’s capacity to know other minds onto oneself. Previously, researchers mostly debated whether the theory receives the most support from the results of empirical research. They have given much less attention to the question whether the theory is the simplest of the available alternatives. I argue that the question of simplicity should be considered in light of the well-established theories surrounding the (...) ISA theory. I claim that the ISA theory then proves to be the simplest. I reply to objections to this claim related to recent developments in this area of research: the emergence of a unified transparency theory of self-knowledge and the relative establishment of the predictive processing theory. (shrink)

It is typically assumed that while we know other people’s mental states by observing and interpreting their behavior, we know our own mental states by introspection, i.e., without interpreting ourselves. In his latest book, The opacity of mind: An integrative theory of self-knowledge, Peter Carruthers (2011) argues against this assumption. He holds that findings from across the cognitive sciences strongly suggest that self-knowledge of conscious propositional attitudes such as intentions, judgments, and decisions involves a swift and unconscious process of (...) self-interpretation that utilizes the same sensory channels that we employ when working out other people’s mental states. I provide an overview of Carruthers’ book before discussing a pathological case that challenges his account of self-knowledge and mentioning empirical evidence that undermines his use of a particular kind of data in his case against introspection of conscious attitudes. (shrink)

Mandik (2010) defends a motor theory of control consciousness according to which nonsensory states, like motor commands, directly contribute to the awareness we have of ourselves as being in control of our actions. Along the way, he argues that his theory is to be preferred over Prinz’s (2007) sensory imagery theory, which denies that nonsensory states play any direct role in the generation of control consciousness. I argue that Mandik’s criticisms of Prinz’s theory fall short, (...) but that nonetheless there are reasons to favor a motor theory of control consciousness over a sensory imagery theory. (shrink)

Some sensory experiences are pleasant, some unpleasant. This is a truism. But understanding what makes these experiences pleasant and unpleasant is not an easy job. Various difficulties and puzzles arise as soon as we start theorizing. There are various philosophical theories on offer that seem to give different accounts for the positive or negative affective valences of sensory experiences. In this paper, we will look at the current state of art in the philosophy of mind, present the main (...) contenders, critically compare and contrast them. In particular, we want to examine how they handle the reason-giving power of affective states. We will look into two representationalist proposals (Evaluativism and Imperativism) and a functionalist proposal, and argue that, contrary to their own advertisements, the representationalist proposals don’t have good accounts of why and how sensory affect can motivate, rationalize, and justify subsequent behavior and intentional mental activity. We will show that our own functionalist proposal does a much better job in this regard, and that when the representationalist proposals are modified to do a better job, they fare better not because of their representationalist credentials but due to their functionalist ones. (shrink)

In 1943, a distinguished child psychiatrist at Johns Hopkins University, Leo Kanner, published what would become a landmark article: a description of 11 children who suffered from a distinct disorder he called ‘infantile autism’. While initially quite obscure, in the early 1950s Kanner’s report garnered much attention, as clinicians and researchers interpreted these case studies as exemplifying the ill-effects of maternal deprivation, a new theory that rapidly gained currency in the United States. Sensory deprivation experiments, performed in the (...) mid-1950s, further complicated the picture, as experts debated whether maternal deprivation was unique or simply a form of environmental stimulation. As experts strove to make sense of this new disorder, they relied on concepts of maternal and sensory deprivation, both to promote their own theories and to critique or refute those of their colleagues. This interplay between the two theories also informed new forms of intervention, including ‘rage reduction therapy’, which served as a precursor for controversial forms of therapy today termed as the ‘attachment therapies’. This article sheds light on a little-known aspect of the history of autism, and examines the far-reaching effect popular etiological theories have in shaping debates over emerging medical concerns. (shrink)

This article seeks the origin, in the theories of Ibn al-Haytham (Alhazen), Descartes, and Berkeley, of two-stage theories of spatial perception, which hold that visual perception involves both an immediate representation of the proximal stimulus in a two-dimensional ‘‘sensory core’’ and also a subsequent perception of the three dimensional world. The works of Ibn al-Haytham, Descartes, and Berkeley already frame the major theoretical options that guided visual theory into the twentieth century. The field of visual perception was the (...) first area of what we now call psychology to apply mathematics, through geometrical models as used by Euclid, Ptolemy, Ibn al-Haytham, and Descartes (among others). The article shows that Kepler’s discovery of the retinal image, which revolutionized visual anatomy and entailed fundamental changes in visual physiology, did not alter the basic structure of theories of spatial vision. These changes in visual physiology are advanced especially in Descartes' Dioptrics and his L'Homme. Berkeley develops a radically empirist theory vision, according to which visual perception of depth is learned through associative processes that rely on the sense of touch. But Descartes and Berkeley share the assertion that there is a two-dimensional sensory core that is in principle available to consciousness. They also share the observation that we don't usually perceived this core, but find depth and distance to be phenomenally immediate, a point they struggle to accommodate theoretically. If our interpretation is correct, it was not a change in the theory of the psychology of vision that engendered the idea of a sensory core, but rather the introduction of the theory into a new metaphysical context. (shrink)

Several recent accounts claim that imagination is a matter of simulating perceptual acts. Although this point of view receives support from both phenomenological and empirical research, I claim that Jean-Paul Sartre's worry formulated in L'imagination (1936) still holds. For a number of reasons, Sartre heavily criticizes theories in which the sensory material of imaginative acts consists in reviving sensory impressions. Based on empirical and philosophical insights, this article explains how simulation theories of imagination can overcome Sartre's critique by (...) paying attention to the motor dimension of imagination. Intending to clarify the status of the sensory in imagination, a motor theory of imagination is presented in which the sensory component of imagination is interpreted in terms of anticipated sensory consequences of preparation for motor action. (shrink)

아우구스티누스의 철학적 여정은 아카데미학파로 대표되는 고대의 회의주의에 대한 논박으로 시작하고 발전한다. 아카데미학파는 스토아주의가 자연적 영역에 대한 감관지각의 관계를 통해서 앎의 통일성을 소유했다고 주장하는 것에 문제를 제기하고, 이 통일성이 하나의 환영이라는 것을 입증하는 데 역량을 집중하여 다양한 논의를 양산했다. 아카데미학파는 감관지각의 불완전성을 논의함으로써 인간이 사물의 본성에 대한 앎을 가질 수 없다고 주장했다. 또한 이를 바탕으로 진리를 발견할 수는 없지만 진리를 추구할 수는 있다는 상대주의적 입장으로 나아간다. 아우구스티누스는 아카데미학파의 주장에 반박하고자 『콘트라 아카데미코스』를 중심으로 여러 저작에서 아카데미학파의 감관지각 이론에 대해 비판하면서 자신의 감관지각 (...) 이론을 정립한다. 아우구스티누스는 『콘트라 아카데미코스』에서 감관지각에 대한 아카데미학파의 회의적 질문, 즉“어떻게 이 세계가 존재한다는 것을 아는가. 만약 감관들이 오류를 범할 수 있다면?”, “만약 당신이 잠들어 있을 때에도 당신이 보는 것이 이 세계인가?”라는 명제를 소개한다. 그리고 이에 대해 아우구스티누스는 자기에게 외현하는 것은 그 자체로는 참이지만, 그것을 보이는 그대로 존재한다고 여겨 함부로 동의할 때에만 오류라고 답한다. 또한 그는 유사 세상이라는 사실이 곧 감관지각이 거짓이라는 사실을 입증해 주는 것은 아니며, 아무리 꿈속이라고 할지라도 그것을 인식하는 감관의 활동은 정상적일 수 있다는 논의를 편다. (shrink)

A lot of qualitatively very different sensations can be pleasant or unpleasant. The Felt-Quality Views that conceive of sensory affect as having an introspectively available common phenomenology or qualitative character face the “heterogeneity problem” of specifying what that qualitative common phenomenology is. In contrast, according to the Attitudinal Views, what is common to all pleasant or unpleasant sensations is that they are all “wanted” or “unwanted” in a certain sort of way. The commonality is explained not on the basis (...) of phenomenology but by a common mental, usually some sort of conative, attitude toward the sensation. Here I criticize both views and offer an alternative framework that combines what is right in both while avoiding their unintuitive commitments. The result is the reductive (psychofunctionalist) adverbial sensory modification view of pleasure and displeasure. (shrink)

Pain is commonly explained in terms of the perceptual activity of a distinct sensory modality, the function of which is to enable us to perceive actual or potential damage to the body. However, the characterization of pain experience in terms of a distinct sensory modality with such content is problematic. I argue that pain is better explained as occupying a different role in relation to perception: to indicate when the stimuli that are sensed in perceiving anything by means (...) of a sensory modality exceed a significant level of intensity. Viewing the system underlying pain experience as an integral and functionally integrated feature of all the senses provides a new perspective on the diverse forms of pain, what it is like to experience pain and the contrasting natures of pain and pleasure. (shrink)

In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's (...) class='Hi'>theory of sexual selection provides a mechanistic basis to explain the evolution of male display traits. This mechanistic approach has proven useful to developing hypotheses about the evolution of human art. Both Boyd and Richerson (1985) and Miller (1998, 1999, 2000, 2001) have applied an indirect-benefit model from sexual selection to the evolution of art behavior. We argue that the mechanistic possibilities sensory exploitation has to offer as a model have remained underexplored so far, so we propose a concept based upon it. From the sensory exploitation perspective it follows that exaptive exploitation of psychosensory biases is a primary force in the evolution of art production (notice that the use of a model from sexual selection does not imply art evolved as a sexual display - we only use it for its mechanism) and that the indirect-benefit model only provides secondary forces. Thus, sensory exploitation may operate alone under some conditions but usually secondary processes as a result of indirect benefits are expected to kick in. The concept of sensory exploitation will need to play a central role in articulating all of the existing hypotheses about art. (shrink)

A major obstacle for materialist theories of the mind is the problem of sensory consciousness. How could a physical brain produce conscious sensory states that exhibit the rich and luxurious qualities of red velvet, a Mozart concerto or fresh-brewed coffee? Caging the Beast: A Theory of Sensory Consciousness offers to explain what these conscious sensory states have in common, by virtue of being conscious as opposed to unconscious states. After arguing against accounts of consciousness in (...) terms of higher-order representation of mental states, the theory claims that sensory consciousness is a special way we have of representing the world. The book also introduces a way of thinking about subjectivity as separate and more fundamental than consciousness, and considers how this foundational notion can be developed into more elaborate varieties. An appendix reviews the connection between consciousness and attention with an eye toward providing a neuropsychological instantiation of the proposed theory. (shrink)

In an different manner than the classical works of Sokolowski, Tugendhat and Schuhmann, who treated the Husserlian problematic of constitution as reality – subjectivity relation, this study tries to explain that relation in a pure immanent and formal way. The constitution of the object as such presupposes a system of constitution, which, as a part of the system of "transcendental" phenomenology, takes explicitly into account the legality or typicality of the processes and requires their global articulation. Thus, in the first (...) section, the study clarifies the relation between "analytics" and "transcendental" in the framework of the originary constitution. In the second section, through a comparative analysis of the "field" and "flux", the most elementary structures of connectivity are exposed. Finally, a research upon the formal characters of a "series" in Husserl’s doctrine of intentional modifications will be brought into discussion in order to clarify the role of the infinity in the Husserlian theory of constitution. (shrink)

Immanuel Kant’s theory of imagination is a surprisingly fruitful nexus of explanation for the prima facie disparate characteristics of autism spectrum disorder (ASD), especially the sub-spectrum best characterized by the Sensory Integration (SI) and Intense World (IW) theories of ASD. According to the psychological theories that underpin these approaches to autism, upstream effects of sensory processing atypicalities explain a cascade of downstream effects that have been characterized in the diagnostic triad, e.g., poor sensory integration contributes to (...) weak central coherence, which in turn contributes to difficulty participating in a back and forth conversation. To see why Kant’s theory of imagination might be useful, consider that ASD is neither a sensory disorder nor an intellectual disorder per se. Cognitive dysfunction is a common comorbidity of ASD, not a characteristic of it. If we exclude sense and intellect, what’s left? According to Kant, imagination is a synthesizing faculty that mediates between sense and understanding. It does so by transforming intuition from the canonic and vital senses. The uses of imagination include our spatially formative, temporally associative, and communicatively affinitive production, where affinitive production includes sympathy and fantasy. Imagination is thus the faculty of sensory integration, embodied subjectivity, empathy, mindreading, and social cooperation. The wide range of how autism presents and how it is experienced can thus be understood in terms of the atypical development of specific functions of imagination. Kant’s theory of imagination provides a new perspective on how to organize our understanding of autism at the psychological level, one that makes sense of how some of the disparate characteristic phenomena of autism are systematically related and which might lead to novel predictions, research targets, or intervention recommendations. (shrink)

In the nearly half a century since its modern inception (Anscombe (1965), Hintikka (1969)), the Representation theory has faced no more implacable enemy than Ned Block. He has offered objection after objection, usually in the form of apparent counterexamples, and as I write this he shows no sign of flagging.

A major obstacle to the acceptance of materialist theories of the mind is the problem of sensory consciousness. How could a physical brain produce conscious sensory states that exhibit the rich and luxurious qualities of red velvet, a Mozart concerto or fresh-brewed coffee? A full answer to this question requires two different sorts of theory. The first sort considers what all these conscious sensory states have in common, by virtue of being conscious as opposed to unconscious (...) states. The second sort considers what distinguishes conscious sensory-states from each other, for example, how the qualities in a conscious sensory state of red velvet differ from those of a Mozart concerto. I propose a theory of the first sort, that is, an explanation of the distinction between conscious and unconscious sensory states. ;According to the second sense theory, conscious sensory states are coordinated sensory representations of the present moment produced by a second sense. Three elements are necessary and jointly sufficient for sensory consciousness. Sensory representations must be coordinated toward action in the world. The representations included in the content of a conscious sensory state are those that will aid the creature in assessing current environmental conditions according to the task at hand. Conscious sensory states represent states of affairs as occurring at the present moment. In other words, sensory consciousness is constituted by the coordination of sensory representations into a representation of what is happening 'now.' The mechanism responsible for coordinating sensory representations into conscious sensory states is the second sense. A second sense mechanism explains how some sensory representations become coordinated into a conscious sensory state while others remain unconscious. ;In addition to providing an explanation of sensory consciousness, the second sense theory is nicely suited to a Gibsonian account of subjectivity, whereby information about the subject is specified simultaneously in perception with information about the object. I argue that the subject, at its most bare, is the locus of an egocentric map, the zero point of a coordinate system which specifies objects according to here. (shrink)

Many philosophers doubt that one can provide any successful explanation of sensory qualities - of how things look, feel, or seem to a perceiving subject. To provide such an explanation, one would need to explain qualitative facts in non-qualitative terms. Attempts to construct such explanations have seemed, in principle, doomed. Austen Clark examines the strategy used in psychophysics, psychometrics, and sensory neurophysiology to explain qualitative facts. He argues that this strategy could succeed: its structure is sound, and it (...) can answer the various philosophical objections lodged against it. On this basis Professor Clark presents an analysis of senosry qualities that offers the possibility of explaining at least some qualia, and he sketches how this scheme might eventually reduce to neurophysiology. If he is correct, we are not doomed to an eternity of mere acquaintance with our qualia. (shrink)

1. Clark’s book is a detailed study of the nature of sensory representation. It is highly informed by empirical results in the psychology of perception, and philosophically rich and significant. I admire the book and learned a great deal from reading it. As it covers a wide range of topics, and as I have no overarching critique to present, in this commentary I will briefly address three issues that come up in the book: Clark’s relational type-identity thesis for (...) class='Hi'>sensory qualities, his theory that sensory representations involve proto-singular terms referring to spatio-temporal regions in the subject’s environment, and his interesting proposal concerning color to treat it as “difference coding”. Some of my remarks will be critical, but others will just explore some of the implications of his view. 2. Clark distinguishes “phenomenal properties” from “qualitative properties”, the former being appearance properties of things in the world (their colors, shapes, tastes, odors, etc.) and the latter being the properties of sensations by virtue of which they are sensations of their corresponding phenomenal properties. So when I see a red ball I am “directly” aware of the ball’s redness and roundness - it appears red and round to me. This awareness of the ball’s redness and roundness is accomplished, however, by my having a visual experience with certain qualitative properties; those that are of the sort one has when seeing something as red and round. It is these latter qualitative properties that are the subject of his relational type-identity thesis. Before addressing that thesis, however, I want to quickly note and respond to another point Clark makes concerning the qualitative properties of sensory states. He.. (shrink)

The measurement of sensory intensity has had a long history, attracting the attention of investigators from many disciplines including physiology, psychology, physics, mathematics, philosophy, and even chemistry. While there has been a continuing doubt by some that sensation has the properties necessary for measurement, experiments designed to obtain estimates of sensory intensity have found that a general rule applies: Equal stimulus ratios produce equal sensory ratios. Theories concerning the basis for this simple psychophysical rule are discussed, with (...) emphasis given to the physical correlate theory, which considers judgments of subjective magnitudes to be based upon estimates of physical dimensions that vary regularly with changes in degree of stimulation. For the most thoroughly investigated sensory scales, brightness and loudness, the physical correlate is considered to be distance. Our “tacit knowledge” of the sensory effects of changing distance plays an essential role in matching motor activities to environmental conditions and in ensuring accurate perceptual evaluations through brightness and loudness constancies. In psychophysical experiments, subjects apparently use this same tacit knowledge when required to estimate relative subjective magnitudes. The evidence related to the physical correlate theory is summarized, and it is concluded that, while under appropriate conditions we demonstrate considerable skill in evaluating environmental relationships, we are quite unable to estimate the neurophysiological nature or quantity of sensory response. A psychophysics devoted to studying conditions required for accuracy and conditions producing errors in the perception of environmental relationships would seem to be more valuable than one devoted to subjective magnitudes. (shrink)

The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics - the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused (...) and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, 'Sensorial Aesthetics in Music Practices' repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. (shrink)

Do sensory measurements deserve the label of “measurement”? We argue that they do. They fit with an epistemological view of measurement held in current philosophy of science, and they face the same kinds of epistemological challenges as physical measurements do: the problem of coordination and the problem of standardization. These problems are addressed through the process of “epistemic iteration,” for all measurements. We also argue for distinguishing the problem of standardization from the problem of coordination. To exemplify our claims, (...) we draw on olfactory performance tests, especially studies linking olfactory decline to neurodegenerative disorders. (shrink)

Is the brain the biological substrate of consciousness? Most naturalistic philosophers of mind have supposed that the answer must obviously be «yes » to this question. However, a growing number of philosophers working in 4e (embodied, embedded, extended, enactive) cognitive science have begun to challenge this assumption, arguing instead that consciousness supervenes on the whole embodied animal in dynamic interaction with the environment. We call views that share this claim dynamic sensorimotor theories of consciousness (DSM). Clark (2009) a founder and (...) leading proponent of the hypothesis of the extended mind, demurs, arguing that as matter of fact the biology of consciousness doesn’t allow for a brain, body and world boundary crossing architecture. We begin by looking at one of the arguments for DSM, the variable neural correlates argument. We then outline two criticisms that Clark has made of this argument and endorse his criticisms. However we finish up by using the case of sensory substitution to argue that something of this argument for DSM nevertheless survives. We suggest that Clark ought to concede sensory substitution as a case in which the conscious mind extends. (shrink)

Synesthesia is a phenomenon in which an additional nonstandard perceptual experience occurs consistently in response to ordinary stimulation applied to the same or another modality. Recent studies suggest an important role of semantic representations in the induction of synesthesia. In the present proposal we try to link the empirically grounded theory of sensory-motor contingency and mirror system based embodied simulation to newly discovered cases of swimming-style color synesthesia. In the latter color experiences are evoked only by showing the (...) synesthetes a picture of a swimming person or asking them to think about a given swimming style. Neural mechanisms of mirror systems seem to be involved here. It has been shown that for mirror-sensory synesthesia, such as mirror-touch or mirror-pain synesthesia, concurrent experiences are caused by the overactivity in the mirror neuron system responding to the specific observation. The comparison of different forms of synesthesia has the potential of challenging conventional thinking on this phenomenon and providing a more general, sensory-motor account of synesthesia encompassing cases driven by semantic or emulational rather than pure sensory or motor representations. (shrink)

According to a traditional view, perceptual experiences are composites of distinct sensory and cognitive components. This dual-component theory has many benefits; in particular, it purports to offer a way forward in the debate over what kinds of properties perceptual experiences represent. On this kind of view, the issue reduces to the questions of what the sensory and cognitive components respectively represent. Here, I focus on the former topic. I propose a theory of the contents of the (...) sensory aspects of perceptual experience that provides clear criteria for identifying what kinds of properties they represent. (shrink)

David Papineau develops a new argument against representationalism, centering on the idea that sensory experiences are essentially representational on this view. He defends his own “qualitative view” according to which sensory experiences are only contingently representational. I discuss his main argument against essentialist representationalism and then provide two challenges for his positive account. First, Papineau's theory faces a dilemma when it comes to explaining the contents of our perceptual beliefs in situations where the conscious character of (...) class='Hi'>sensory experience comes apart from what it represents. Second, we may need to abandon the idea that sensory experiences are assessable for veridicality. (shrink)

In ‘Of Sensory Systems and the “Aboutness” of Mental States’, Kathleen Akins (1996) argues against what she calls ‘the traditional view’ about sensory systems, according to which they are detectors of features in the environment outside the organism. As an antidote, she considers the case of thermoreception, a system whose sensors send signals about how things stand with themselves and their immediate dermal surround (a ‘narcissistic’ sensory system); and she closes by suggesting that the signals from many (...) sensory systems may not in any familiar sense be about anything at all. Her presentation of the issues, however, overlooks resources available to ‘the traditional view’—or so I shall argue. Akins’s own thumbnail sketch of what is wrong with the traditional view is that it asks, concerning a given sensory system, ‘what is it detecting?’, when we should instead be asking ‘what is it doing?’ (352). Her point is that on the traditional view the function of a sensory system—what it's ‘for’—is to detect or indicate (values of) features of the outside environment. But at least on one version of the traditional view—namely Ruth Millikan’s—this would never be the sole or main proper function of a sensory system. (Akins does not list Millikan as a traditionalist, but Millikan fits squarely Akins’s description of them, since she believes in a naturalistic theory of aboutness and thinks it should begin with the senses.) For Millikan (1989, 1993), the proper function of a sensory system is in the first instance enabling behavioural systems—in the simplest case, motor routines—to perform their proper function. This they do, roughly, by switching on and steering the behavioural routines. Where features of the outside environment come in is as Normal (= assumed-by-the-design) conditions for the successful performance of the sensory system's proper function. That is, the only strategy for switching on and steering that is simple enough for evolution to have hit upon it, and reliable enough for evolution to have liked it, is a strategy which gears the steering to (values of) features of the outside environment. But as soon as one starts fleshing out the details of this story, one notices that they are probably quite different in the case of thermoreception from how they are with ‘distance’ senses such as vision and olfaction--a point which Akins overlooks.. (shrink)

Do sensory measurements deserve the label of “measurement”? We argue that they do. They fit with an epistemological view of measurement held in current philosophy of science, and they face the same kinds of epistemological challenges as physical measurements do: the problem of coordination and the problem of standardization. These problems are addressed through the process of “epistemic iteration,” for all measurements. We also argue for distinguishing the problem of standardization from the problem of coordination. To exemplify our claims, (...) we draw on olfactory performance tests, especially studies linking olfactory decline to neurodegenerative disorders. (shrink)

Many philosophers believe that there is a causal condition on perception, and that this condition is a conceptual truth about perception. A highly influential argument for this claim is based on intuitive responses to Gricean-style thought experiments. Do the folk share the intuitions of philosophers? Roberts et al. (2016) presented participants with two kinds of cases: Blocker cases (similar to Grice’s case involving a mirror and a pillar) and Non-Blocker cases (similar to Grice’s case involving a clock and brain stimulation). (...) They found that a substantial minority agreed that seeing occurs in the Non-Blocker cases, and that in the Blocker cases significantly less agreed that seeing occurs. They thus hypothesized that folk intuitions better align with a no blocker condition than with a causal condition. This paper continues this line of enquiry with two new experiments. The paper investigates the generality and robustness of Roberts et al.’s findings by expanding the sense modalities tested from only vision to audition and olfaction as well. The paper also uses Gricean-style thought experiments as a case study for investigating the “reflection defense” against the negative project in experimental philosophy. Our results replicate and extend Roberts et al.’s study and support their hypothesis that folk intuitions better align with a no blocker condition. They also provide an empirical reason to doubt the reflection defense. (shrink)