22 found
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  1. The Cognitive Penetrability of Perception: New Philosophical Perspectives.John Zeimbekis & Athanassios Raftopoulos (eds.) - 2015 - Oxford: Oxford University Press.
    According to the cognitive penetrability hypothesis, our beliefs, desires, and possibly our emotions literally affect how we see the world. This book elucidates the nature of the cognitive penetrability and impenetrability hypotheses, assesses their plausibility, and explores their philosophical consequences. It connects the topic's multiple strands (the psychological findings, computationalist background, epistemological consequences of cognitive architecture, and recent philosophical developments) at a time when the outcome of many philosophical debates depends on knowing whether and how cognitive states can influence perception. (...)
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  2. Color and cognitive penetrability.John Zeimbekis - 2013 - Philosophical Studies 165 (1):167-175.
    Several psychological experiments have suggested that concepts can influence perceived color (e.g., Delk and Fillenbaum in Am J Psychol 78(2):290–293, 1965, Hansen et al. in Nat Neurosci 9(11):1367–1368, 2006, Olkkonen et al. in J Vis 8(5):1–16, 2008). Observers tend to assign typical colors to objects even when the objects do not have those colors. Recently, these findings were used to argue that perceptual experience is cognitively penetrable (Macpherson 2012). This interpretation of the experiments has far-reaching consequences: it implies that the (...)
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  3. Seeing, visualizing, and believing: Pictures and cognitive penetration.John Zeimbekis - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford: Oxford University Press. pp. 298-327.
    Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...)
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  4. The cognitive penetrability of perception : an overview.Athanassios Raftopoulos & John Zeimbekis - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford: Oxford University Press.
  5.  51
    Cognitive Penetrability: An Overview.Athanassios Raftopoulos & John Zeimbekis - 2015 - In John Zeimbekis & Athanassios Raftopoulos (eds.), The Cognitive Penetrability of Perception: New Philosophical Perspectives. Oxford: Oxford University Press. pp. 1-56.
  6. Digital Pictures, Sampling, and Vagueness: The Ontology of Digital Pictures.John Zeimbekis - 2012 - Journal of Aesthetics and Art Criticism 70 (1):43-53.
    Digital pictures can be type-identical in respect of colours, shapes and sizes (allographic), but they are not tokens of notational systems, because the types under which they are identical have vague limits and do not meet the requirements for notational characters. Digital display devices are designed to instantiate only limited ranges of objective properties (light intensities, sizes and shapes). Those ranges keep differences in objective magnitudes below sensory discrimination thresholds, and thus define objective conditions sufficient, but not necessary, for the (...)
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  7. Pictures and singular thought.John Zeimbekis - 2010 - Journal of Aesthetics and Art Criticism 68 (1):11-21.
    How do we acquire thoughts and beliefs about particulars by looking at pictures? One kind of reply essentially compares depiction to perception, holding that picture-perception is a form of remote object-perception. Lopes’s theory that pictures refer by demonstrative identification, and Walton’s transparency theory for photographs, constitute such remote acquaintance theories of depiction. The main purpose of this paper is to defend an alternative conception of pictures, on which they are not suitable for acquainting us with particulars but for acquainting us (...)
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  8. Why Digital Pictures Are Not Notational Representations.John Zeimbekis - 2015 - Journal of Aesthetics and Art Criticism 73 (4):449-453.
  9. Phenomenal and objective size.John Zeimbekis - 2009 - Noûs 43 (2):346-362.
    Definitions of phenomenal types (Nelson Goodman’s definition of qualia, Sydney Shoemaker’s phenomenal types, Austen Clark’s physicalist theory of qualia) imply that numerically distinct experiences can be type-identical in some sense. However, Goodman also argues that objects cannot be replicated in respect of continuous and densely ordered types. In that case, how can phenomenal types be defined for sizes, shapes and colours, which appear to be continuously ordered types? Concentrating on size, I will argue for the following points. (§2) We cannot (...)
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  10. Replicative forgery.John Zeimbekis - 2004 - Art and Cognition Workshops.
    I argue that there is no distinction between allographic and autographic representations. One consequence of this is that replicative forgeries have the same aesthetic and artistic value as originals, and are accurate records of actions. I end with some reflections on the pragmatic structure of forgery.
     
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  11.  77
    Borgesian maps.Roberto Casati, John Kulvicki & John Zeimbekis - 2020 - Analytic Philosophy 63 (2):90-98.
    Analytic Philosophy, Volume 63, Issue 2, Page 90-98, June 2022.
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  12.  52
    Perceptual warrant and internal access.John Zeimbekis - 2022 - Philosophical Studies 180 (1):191-206.
    Perceptual beliefs that categorize objects can be justified by demonstrating basic properties (eg shapes) of the objects. In these justifications, perceptual justifiers have different contents to the beliefs they justify. I argue that the justifications are not inferential. Subjects are unlikely to have bodies of beliefs adequate to inferentially justify the beliefs they actually form on the strength of their object recognition abilities, especially when recognition depends on stimulus-dependent retrieval of visual memories. Instead, I argue, the justifications exploit a partial (...)
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  13. Thought experiments and mental simulations.John Zeimbekis - 2011 - In Katerina Ierodiakonou & Sophie Roux (eds.), Thought Experiments in Methodological and Historical Contexts. Brill.
    Thought experiments have a mysterious way of informing us about the world, apparently without examining it, yet with a great degree of certainty. It is tempting to try to explain this capacity by making use of the idea that in thought experiments, the mind somehow simulates the processes about which it reaches conclusions. Here, I test this idea. I argue that when they predict the outcomes of hypothetical physical situations, thought experiments cannot simulate physical processes. They use mental models, which (...)
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  14. What makes memories episodic?John Zeimbekis - unknown
  15. La Beauté.John Zeimbekis - 2018 - In Julien A. Deonna & Emma Tieffenbach (eds.), Petit Traité des Valeurs. [Genève, Switzerland]: Edition d’Ithaque. pp. 50-60.
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    (1 other version)Propositional Attitudes In Fiction.John Zeimbekis - 2004 - British Journal of Aesthetics 44 (3):261-276.
    Theories that seek to explain the status of psychological states experienced in fictional contexts either claim that those states are special propositional attitudes specific to fictional contexts (make-believe attitudes), or else define them as normal propositional attitudes by stretching the concept of a propositional attitude to include ‘objectless’ states that do not imply constraints such as truth or satisfaction. I argue that the first theory is either vacuous or false, and that the second, by defining the reality of the states (...)
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  17.  47
    Art, représentation et fiction: un état des lieux.John Zeimbekis - 2007 - Critique 720 (268):281.
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  18. Qu'est-ce qu'un jugement esthétique? Chs1,2 online.John Zeimbekis - 2006 - Vrin.
    Among the book's arguments: Aesthetic property relativism, as described by Alan Goldman, requires subjects to make judgments based on prima facie preferences for determinable properties (eg being curved, being blue). These judgments are not bona fide because they do not require acquaintance with objects. Value concepts and aesthetic (thick) concepts relate contingently. We can be aesthetic property realists, or quasi-realists, without being aesthetic value realists. Contains epistemological arguments against neuro-aesthetics (Ramachandran), aesthetic sense theory (Hutcheson), physiological theories (Burke), and Hume's realism.
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  19.  53
    Le statut épistémique des photographies.John Zeimbekis - 2008 - In S. Darsel & R. Pouivet (eds.), Ce que l'art nous apprend.
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  20.  18
    Pictorial experience and perceptual activity.John Zeimbekis - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 93-124.
  21. Propriétés esthétiques et évaluation.John Zeimbekis - 2003 - Revue Francophone D'Esthétique (1):25-47.
     
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  22. Substantive and deflationist aesthetic value.John Zeimbekis - unknown