Aesthetics is about ways of experiencing the world. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress.

Philosophy of perception is one of the most robust and flourishing fields within contemporary philosophy. This volume casts a spotlight on the subject’s most dynamic conversations, with pairs of philosophers debating six key questions: 1. Are perceptual states representations? 2. How can perception be unconscious? 3. Is attention necessary for perception? 4. In what sense is perception multimodal? 5. How is vision different from other sense modalities? 6. Does perception include both low-level and (...) high-level properties? Preliminary descriptions of each side in each debate, annotated bibliographies for each question, and a supplemental guide to further controversies in the field are included. These student-friendly features make the volume is_ _an ideal resource for any advanced student wishing to understand live debates in this active field. (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying (...) what I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

Precis of Aesthetics as Philosophy of Perception.

This chapter considers how Liberal Naturalism interacts with the main problems and theories in the philosophy of perception. After briefly summarising the traditional philosophical problems of perception and outlining the standard philosophical theories of perceptual experience, it discusses whether a Liberal Naturalist outlook should incline one towards or away from any of these standard theories. Particular attention is paid to the work of John McDowell and Hilary Putnam, two of the most prominent Liberal Naturalists, whose work was (...) also very influential in the philosophy of perception. There is also a section focusing on colour, an especially important topic not only for debates about perceptual experience but also for debates concerning how our ‘manifest image’ of the natural world relates to our best theories in the physical sciences. (shrink)

This edited volume on the philosophy of perception is based on the papers presented at the Wittgenstein Symposium 2017 (Kirchberg, Austria). It covers a wide range of recent topics in the philosophy of perception, from realism and objectivity in perception, intentionality and content, the distinction between perception and cognition, the cognitive penetrability of perception to the epistemology of perception. The volume contains papers by Tyler Burge, Howard Robinson, Olivier Massin, Michael Schmitz, Michael (...) Tye, Marcello Fiocco, Guillaume Frechette, Sofia Miguens, Uriah Kriegel, Pierre Jacob, Mark Kalderon, Berit Brogaard, Athanassios Raftopoulos, Ophelia Deroy, Charles Travis, Johannes Roessler, Philipp Berghofer, Harald Wiltsche, Frederique de Vignemont, Romana Schuler, Ulrich Arnswald, David Stern and Hans Sluga. (shrink)

Lambert Wiesing's The Philosophy of Perception challenges current theories of perception. Instead of attempting to understand how a subject perceives the world, Wiesing starts by taking perception to be real. He then asks what this reality means for a subject. In his original approach, the question of how human perception is possible is displaced by questions about what perception obliges us to be and do. He argues that perception requires us to be embodied, (...) to be visible, and to continually participate in the public and physical world we perceive. Only in looking at images, he proposes, can we achieve something like a break in participation, a temporary respite from this, one of perception's relentless demands. Wiesing's methods chart a markedly new path in contemporary perception theory. In addition to identifying common ground among diverse philosophical positions, he identifies how his own, phenomenological approach differs from those of many other philosophers, past and present. As part of the argument, he provides a succinct but comprehensive survey of the philosophy of images His original critical exposition presents scholars of phenomenology, perception and aesthetics with a new, important understanding of the old phenomenon, the human being in the world. (shrink)

Introduction: Three key principles -- Sense datum theories -- Adverbial theories -- Belief acquisition theories -- Intentional theories -- Disjunctive theories -- Perception and causation -- Perception and the sciences of the mind -- Perception and other sense modalities.

Overview of recent work in philosophy of perception.

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance (...) with those objects and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

Imagine, if you will, that the entire community of investigators interested in the problems of perception all lived together in the same town. Some continual shuffling of neighbors would be inevitable, and there might be occasional episodes of mass relocation and energetic bulldozing, but after a while the residents would probably settle down and find themselves living in districts defined roughly by disciplinary boundaries. The experimental psychologists would occupy the newer part of town, laced with superhighways, workshops and factories, (...) machines and measuring instruments, computers and overhead display units. But the town also has an Old City, marked by the complete absence of highways and factories, where the streets are lined with ancient hovels. There are, to be sure, some colossal palaces and museums in this part of town, breathtaking monuments to the grandeur of past centuries, but the current residents lack the inclination to construct such buildings, and many of the old palaces have been boarded up and condemned as unfit for human habitation. The somewhat scraggly and irascible inhabitants of this district have few viable economic enterprises, and no free markets, but rather organize themselves in units resembling nothing so much as medieval guilds. Congratulations. You have stumbled into the neighborhood where the philosophers live. (shrink)

Nearly every theory of perception just focuses on one sense at a time; but most of the time we perceive using multiple senses. Casey O'Callaghan offers a revisionist multisensory philosophy of perception: he explores how our senses work together and influence each other, leading to surprising perceptual illusions and novel forms of experience.

This book draws on Merleau-Ponty’s phenomenology to develop new and promising solutions to contemporary debates about perception. In providing an extension and defense of Merleau-Ponty’s account of perceptual content and of the relation between perception and the world, it demonstrates the enduring value of Merleau-Ponty’s insights for philosophy of perception today. -/- The author focuses on two main topics: the contents and the nature of perception. In the first half of this book, the author tackles (...) debates about the content of perception, namely, what sorts of properties or features of the world reveal themselves to us in perception and in what modes. Drawing on Merleau-Ponty’s description of perceptual “sense,” the author argues that perception has a unique kind of content, which cannot be adequately described in terms of sensations or concepts. He then shows how this account of perceptual sense can clarify debates about the richness of perceptual content, including whether we can perceive moral properties. In the second half, he turns to the nature of perception. Here he argues that Merleau-Ponty’s account of perceptual intentionality makes available a powerful combination of the core insights of two main contemporary approaches to this question: realism and intentionalism. The author shows how this combination can be developed, defends it from objections, and explains how it is equipped to deal with problems posed by the existence of illusions and hallucinations. -/- Merleau-Ponty and Contemporary Philosophy of Perception will appeal to scholars and advanced students working on phenomenology and the philosophy of perception. (shrink)

Contribution to a Book Forum on Bence Nanay's Aesthetics as Philosophy of Perception (includes Nanay's response).

Contemporary philosophy of perception is dominated by extremely polarized debates. The polarization is particularly acute in the debate between naïve realist disjunctivists and their opponents, but divisions seem almost as stark in other areas of dispute (for example, the debate over whether we experience so-called ‘high-level’ properties, and the debate concerning individuation of the senses). The guiding hypothesis underlying this volume is that such polarization stems from insufficient attention to how we should go about settling these debates. In (...) general, there is widespread, largely implicit disagreement concerning what philosophical theories of perception are supposed to explain, the claims that we should hold fixed in the course of theorizing, and the methods that such theorizing should employ. The goal of this volume is to move such methodological questions from the background to the fore, in the hope of facilitating progress. The contributions constitute an initial effort to spur more explicit, systematic discussion of methodology in philosophy of perception. They cover a wide range of relevant topics, from the relation between scientific and philosophical theorizing about perception, to lessons we can learn from the history of philosophy of perception. (shrink)

Does perception provide us with direct and unmediated access to the world around us? The so-called 'argument from illusion ' has traditionally been supposed to show otherwise: from the subject's point of view, perceptual illusions are often indistinguishable from veridical perceptions; hence, perceptual experience, as such, cannot provide us with knowledge of the world, but only with knowledge of how things appear to us. Disjunctive accounts of perceptual experience, first proposed by John McDowell and Paul Snowdon in the early (...) 1980s and at the centre of current debates in the philosophy of perception, have been proposed to block this argument. According to the traditional view, a case of perception and a subjectively indistinguishable illusion or hallucination can exemplify what is fundamentally the same kind of mental state even though they differ in how they relate to the non-mental environment. In contrast, according to the disjunctive account, the concept of perceptual experience should be seen as essentially disjunctive, encompassing two distinct kinds of mental states, namely genuinely world-involving perceptions and mere appearances. This book presents seven recent essays on disjunctivism first published in two special issues of Philosophical Explorations: An International Journal for the Philosophy of Mind and Action. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual (...) way: we are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

I. PERCEPTION AND THE OBJECTS OF PERCEPTION SOME JUDGMENTS OF PERCEPTION G. E. Moore I want to raise some childishly simple questions as to what we ...

Levinas is usually discussed as a philosopher wrestling with the nature of our experience of others, ethical obligation, and the divine. Unlike other phenomenologists, such as Husserl and Heidegger, he is not often mentioned in discussions about issues in philosophy of mind. His work in that area, especially on perception, is underappreciated. He gives an account of the nature of perceptual experience that is remarkable both in how it departs from that of others in the phenomenological tradition and (...) for how it fits in among presently available views about the nature of perceptual experience, namely, as a form of naïve realism. (shrink)

After first noting that I seek to broaden the definition of science fiction to a little more loosely defined speculative fiction, this essay explores four different ways in which fiction can work together with both the sciences and the philosophy of perception. This cooperation is needed because there is much about the sensory worlds of humans and non-human animals of which we continue to be ignorant. First, speculative fiction can be a source of hypotheses about the nature of (...) the senses. Second, it can help us understand the inner worlds of beings different from us. Third, speculative fiction often pushes us to investigate the ethical and social dimensions of sensory difference. Finally, speculative fiction can play an important role in reconciling our scientific understanding of the senses with a more commonsense understanding of same. (shrink)

In this paper I critically examine uses of introspection in present-day philosophy of perception. First, I introduce a distinction between two different meanings of the term ‘introspection’: introspective access and introspective method. I show that they are both at work in the philosophy of perception but not adequately distinguished. I then lay out some concerns about the use of introspection to collect data about consciousness that were raised in over a hundred years ago, by some early (...) experimentalist psychologists, part of so-called ‘Introspectionist Psychology’. As I argue, these concerns apply to current philosophical uses of introspection but they are not acknowledged, much less addressed. I explain this by applying the distinction between introspective access and introspective method. As a result, extant arguments relying on introspection-based phenomenal descriptions are methodologically problematic. These problems do not call into question the use of introspection in theorising altogether. But we need to take more care in how we use it. (shrink)

This dissertation explores several illuminating points of intersection between the philosophy of perception and the philosophy of vagueness. Among other things, I argue: (i) that it is entirely unhelpful to theorize about perception or consciousness using Nagelian "what it's like" talk; (ii) that a popular recent account of perceptual phenomenology (representationalism) conflicts with our best theory of vagueness (supervaluationism); (iii) that there are no vague properties, for Evans-esque reasons; (iv) that it is impossible to insert "determinacy" (...) operators into representationalism in a truth-preserving manner; and (v) that strong versions of dualism are unable to accommodate the possibility of borderline consciousness. (shrink)

This collection of essays brings together research on sense modalities in general and spatial perception in particular in a systematic and interdisciplinary way. It updates a long-standing philosophical fascination with this topic by incorporating theoretical and empirical research from cognitive science, neuroscience, and psychology. The book is divided thematically to cover a wide range of established and emerging issues. Part I covers notions of objectivity and subjectivity in spatial perception and thinking. Part II focuses on the canonical distal (...) senses, such as vision and audition. Part III concerns the chemical senses, including olfaction and gustation. Part IV discusses bodily awareness, peripersonal space, and touch. Finally, the volume concludes with Part V, on multimodality. Spatial Senses is an important contribution to the scholarly literature on the philosophy of perception that takes into account important advances in the sciences. (shrink)

© The Author 2016. Published by Oxford University Press on behalf of The Scots Philosophical Association and the University of St Andrews. All rights reserved. For permissions, please e-mail: [email protected] Nanay provides an original and interesting discussion of the connections between aesthetics and the philosophy of perception. According to Nanay, many topics within aesthetics are about experiences of various kinds. Aesthetics is not philosophy of perception, but there are important questions within aesthetics that we can address (...) in an interesting way by using the conceptual apparatus of the philosophy of perception.The main theme of this book is the role of attention in those perceptual experiences that are relevant for aesthetics. Nanay claims that in some paradigmatic examples of aesthetic experiences our attention is exercised in the way of being distributed across properties. He argues that various versions of distributed attention can explain our experiences of aesthetic... (shrink)

Perception has been for philosophers in the last few decades an area of compelling interest and intense investigation. Developments in contemporary cognitive science and neuroscience has thrown up new information about the brain and new conceptions of how sensory information is processed and used. These new conceptions offer philosophers opportunities for reconceptualising the senses--what they tell us, how we use them, and the nature of the knowledge they give us. Today, the philosophy of perception resonates with ideas (...) that had not even been articulated in the 1970s and 1980s. This Handbook is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. (shrink)

In this chapter, I discuss some ways in which debates about temporal experience intersect with wider debates about the nature of perception in general. In particular, I suggest that bearing in mind some general questions about the nature of perception can help with demarcating different theoretical approaches to temporal experience. Much of the current debate about temporal experience in philosophy is framed in terms of a debate between three specific main positions sometimes referred to as the extensional (...) model, the retentional model and the cinematic model. It is typically assumed that the differences between these three models are obvious. Yet, on closer inspection, it turns out to be surprisingly difficult to make out what exactly distinguishes the cinematic model from the extensional one, on the one hand, and from the retentional model, on the other. I criticise some existing ways in which the models are sometimes demarcated from one another, before suggesting that the differences between the three views become clearer if the debate between them is seen as turning on contrasting pictures of the nature of perceptual experience they embody. (shrink)

Perception is the ultimate source of our knowledge about contingent facts. It is an extremely important philosophical development that starting in the last quarter of the twentieth century, philosophers have begun to change how they think of perception. The traditional view of perception focussed on sensory receptors; it has become clear, however, that perceptual systems radically transform the output of these receptors, yielding content concerning objects and events in the external world. Adequate understanding of this process requires (...) that we think of perception in new ways—how it operates, the differences among the modalities, and integration of content provided by the individual senses. Philosophers have developed new analytic tools, and opened themselves up to new ways of thinking about the relationship of perception to knowledge. The Oxford Handbook of the Philosophy of Perception is a collection of entries by leading researchers that reviews these new directions in philosophical thought. The Introduction to the Handbook reviews the history of the subject from its beginnings in ancient Greece to the nineteenth century, and the way that science and philosophy have together produced new conceptions during the last hundred years. It shows how the new thinking about perception has led to a complex web of theories. (shrink)

This book reconsiders the major current topics in the philosophy of perception using olfaction as the paradigm sense. The author reveals how many of the most basic concepts of philosophy of perception are based on peculiarities of visual perception not found in other modalities, and addresses how different the philosophy of perception would be if based on olfaction. The book addresses several aspects of olfaction, including perceptual qualities, percepts, olfaction and cognitive processes, and (...) consciousness. The first part of the book considers perception with respect to its ability to guide behaviors and to make information available to cognitive processes. The author continues by addressing the differences between conscious and non-conscious olfactory perception, and presents an argument for an important role of attention in conscious processes. The book concludes by discussing the function of conscious brain processes and their link to guiding behaviors in complex situations. (shrink)

A recurring theme dominates recent philosophical debates about the nature of conscious perception: naïve realism’s opponents claim that the view is directly contradicted by empirical science. I argue that, despite their current popularity, empirical arguments against naïve realism are fundamentally flawed. The non-empirical premises needed to get from empirical scientific findings to substantive philosophical conclusions are ones the naïve realist is known to reject. Even granting the contentious premises, the empirical findings do not undermine the theory, given its overall (...) philosophical commitments. Thus, contemporary empirical research fails to supply any new argumentative force against naïve realism. I conclude that, as philosophers of mind, we would be better served spending a bit less time trying to wield empirical science as a cudgel against our opponents, and a bit more time working through the implications of each other’s views – something we can accomplish perfectly well from the comfort of our armchairs. (shrink)

A collection of works, many of them classics, on the orthodox view of visual perception.

Anthony J. Lisska presents a new analysis of Thomas Aquinas's theory of perception. While much work has been undertaken on Aquinas's texts, little has been devoted principally to his theory of perception and less still on a discussion of inner sense. The thesis of intentionality serves as the philosophical backdrop of this analysis while incorporating insights from Brentano and from recent scholarship. The principal thrust is on the importance of inner sense, a much-overlooked area of Aquinas's philosophy (...) of mind, with special reference to the vis cogitativa. Approaching the texts of Aquinas from contemporary analytic philosophy, Lisska suggests a modest 'innate' or 'structured' interpretation for the role of this inner sense faculty. He argues that were it not for the vis cogitativa, Aquinas would be unable to account for an awareness of the principal ontological category in his metaphysics. (shrink)

Do we need justification in order to know God exists? Must we infer God exists, if we are to know that he is there? How might religious experience ground belief in God?