Sensory Individuals: Unimodal and Multimodal Perspectives provides an interdisciplinary, well-balanced, and comprehensive look at different aspects of unisensory and multisensory objects, using both nuanced philosophical analysis and informed empirical work. The research presented in this book represents the field's progression from treating neural sensory processes as primarily modality-specific towards its current state of the art, according to which perception, and its supporting neural processes, are multi-modal, modality-independent, meta-modal, and task-dependent. Even within such approaches sensory stimuli, properties, brain (...) activations, and corresponding perceptual phenomenology can still be characterized in a modality-specific way. The book examines the basic building blocks of human perception, and whether they are best understood as sense modality dependent units of different forms or multimodal perceptual objects. The book combines a variety of innovative and integrative angles to explore the topic and acts as a catalyst for an increasingly diverse field of research, which is in an exciting phase of growth and advancement. New questions are arising as quickly as they are being answered, and the collection Sensory Individuals provides an original and up-to-date addition to the field. (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)

Sensory Individuals: Unimodal and Multimodal Perspectives provides an interdisciplinary, well-balanced, and comprehensive look at different aspects of unisensory and multisensory objects, using both nuanced philosophical analysis and informed empirical work. The research presented in this book represents the field's progression from treating neural sensory processes as primarily modality-specific towards its current state of the art, according to which perception, and its supporting neural processes, are multi-modal, modality-independent, meta-modal, and task-dependent. Even within such approaches sensory stimuli, properties, brain (...) activations, and corresponding perceptual phenomenology can still be characterized in a modality-specific way. The book examines the basic building blocks of human perception, and whether they are best understood as sense modality dependent units of different forms or multimodal perceptual objects. The book combines a variety of innovative and integrative angles to explore the topic and acts as a catalyst for an increasingly diverse field of research, which is in an exciting phase of growth and advancement. New questions are arising as quickly as they are being answered, and the collection Sensory Individuals provides an original and up-to-date addition to the field. (shrink)

What are the sensory individuals of audition? What are the entities our auditory system attributes properties to? We examine various proposals about the nature of the sensory individuals of audition, and show that while each can account for some aspects of auditory perception, each also faces certain difficulties. We then put forward a new conception of sensory individuals according to which auditory sensory individuals are composite individuals. A feature shared by all existing accounts of sounds and (...) sources is that they postulate sensory individuals that are non-composite. They identify the sensory individual of sound hearing or source hearing with one type of entity in the environment, be they sound waves, vibrations, or interactions. We question this assumption and argue that our perceptual systems represent two or more aspects of the environment as a single sensory individual. Finally, we show that taking auditory individuals to be composite sensory individuals allows for an account of audition that is less problematic than its existing alternatives. (shrink)

Does the capacity to think require the capacity to sense? A lively debate on this topic runs throughout the history of philosophy and now animates discussions of artificial intelligence. Many have argued that AI systems such as large language models cannot think and understand if they lack sensory grounding. I argue that thought does not require sensory grounding: there can be pure thinkers who can think without any sensory capacities. As a result, the absence of sensory (...) grounding does not entail that large language models cannot think or understand. I also consider to what extent quasi-sensory grounding can at least boost the performance of a language model. (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)

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)

Philosophers of perception have been readier to postulate the existence of a visual field than to acknowledge sensory fields in other modalities. In this paper, I argue that the set of phenomenal features that philosophers have relied on when positing a visual field aptly characterise, mutatis mutandis, bodily sensation. I argue, in particular, that in localised bodily sensations we experience the body as a sensory field. I first motivate this claim for the case of haptic touch, and then (...) generalise it to other kinds of bodily sensation. I demonstrate the theoretical fruitfulness of this notion of a bodily field for the debate on the phenomenology of bodily ownership. (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)

Many philosophers use findings about sensory substitution devices in the grand debate about how we should individuate the senses. The big question is this: Is “vision” assisted by (tactile) sensory substitution really vision? Or is it tactile perception? Or some sui generis novel form of perception? My claim is that sensory substitution assisted “vision” is neither vision nor tactile perception, because it is not perception at all. It is mental imagery: visual mental imagery triggered by tactile (...) class='Hi'>sensory stimulation. But it is a special form of mental imagery that is triggered by corresponding sensory stimulation in a different sense modality, which I call “multimodal mental imagery.”. (shrink)

Teleological accounts of sensory normativity treat normal functioning for a species as a standard: sensory error involves departure from normal functioning for the species, i.e. sensory malfunction. Straightforward reflection on sensory trade-offs reveals that normal functioning for a species can exhibit failures of accuracy. Acknowledging these failures of accuracy is central to understanding the adaptations of a species. To make room for these errors we have to go beyond the teleological framework and invoke the notion of (...) an ideal observer from vision science. The notion of an ideal observer also sheds light on the important distinction between sensory malfunction and sensory limitation. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the (...) physical object and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (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)

Drawing on work in psychophysics, psychometrics, and sensory neurophysiology, Clark analyzes the character and defends the integrity of psychophysical explanations of qualitative facts, arguing that the structure of such explanations is sound and potentially successful.

In this article, we address an existing lacuna in the sociology of the senses, by employing sociological phenomenology to illuminate the under-researched sense of temperature, as lived by a social group for whom water temperature is particularly salient: competitive pool swimmers. The research contributes to a developing ‘sensory sociology’ that highlights the importance of the socio-cultural framing of the senses and ‘sensory work’, but where there remains a dearth of sociological exploration into senses extending beyond the ‘classic five’ (...) sensorium. Drawing on data from a three-year ethnographic study of competitive swimmers in the UK, our analysis explores the rich sensuousities of swimming, and highlights the role of temperature as fundamentally affecting the affordances offered by the aquatic environment. The article contributes original theoretical perspectives to the sociology of the senses and of sport in addressing the ways in which social actors in the aquatic environment interact, both intersubjectively and intercorporeally, as thermal beings. (shrink)

Sensory substitution devices make use of one substituting modality to get access to environmental information normally accessed through another modality . Based on behavioural and neuroimaging data, some authors have claimed that using a vision-substituting device results in visual perception. Reviewing these data, we contend that this claim is untenable. We argue that the kind of information processed by a SSD is metamodal, so that it can be accessed through any sensory modality and that the phenomenology associated with (...) the use of a SSD is best described in terms of spatial phenomenology, only. (shrink)

Synaesthesia is a strange sensory blending: synaesthetes report experiences of colours or tastes associated with particular sounds or words. This volume presents new essays by scientists and philosophers exploring what such cases can tell us about the nature of perception and its boundaries with illusion and imagination.

La autora presenta una critica a la concepcion clasica de los sentidos asumida por la mayoria de autores naturalistas que pretenden explicar el contenido mental. Esta crítica se basa en datos neurobiologicos sobre los sentidos que apuntan a que estos no parecen describir caracteristicas objetivas del mundo, sino que actuan de forma ʼnarcisita', es decir, representan informacion en funcion de los intereses concretos del organismo.El articulo se encuentra también en: Bechtel, et al., Philosophy and the Neuroscience.

As recently highlighted, despite a burgeoning field of sensory ethnography, the practices, production, and accountability of the senses in specific social interactional contexts remain sociologically under-explored. To contribute original insights to a literature on the sensuous body in physical–cultural contexts, here we adopt an ethnomethodologically sensitive perspective to focus on the accomplishment, social organization, and accountability of sensoriality in interaction. Exploring instances of the senses at work in social interaction, we utilize data from two ethnographic research projects to investigate (...) the production of running-together and swimming-together by skilled, experienced practitioners. We focus on two interlinked sensory modalities: auditory attunement, and vision and intercorporeality, identified as key dimensions of sensory embodiment and “togethering” in these particular domains. (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)

The consensus in contemporary philosophy of mind is that how a perceptual experience represents the world to be is built into its sensory phenomenology. I defend an opposing view which I call ‘moderate separatism’, that an experience's sensory phenomenology does not determine how it represents the world to be. I argue for moderate separatism by pointing to two ordinary experiences which instantiate the same sensory phenomenology but differ with regard to their intentional content. Two experiences of an (...) object reflected in a mirror can possess the same spatial phenomenology while representing that object to occupy different spatial locations. So, contrary to the current consensus, the representation of spatial location is not fixed by an experience's sensory phenomenology. (shrink)

Sensory awareness -- the direct focus on some specific sensory aspect of the body or outer or inner environment -- is a frequently occurring yet rarely recognized phenomenon of inner experience. It is a distinct, complete phenomenon; it is not merely, for example, an aspect of a perception. Sensory awareness is one of the five most common forms of inner experience, according to our results . Despite its high frequency, many people do not notice its appearance nor (...) recognize its theoretical import. We describe sensory awareness and distinguish it from other aspects of experience. We give examples and discuss how it appears when moments of inner experience are examined carefully. We note that there are large individual differences in the observed frequency of sensory awareness and consider its relationship to mental health and other aspects of psychological functioning. (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)

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)

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)

When a user integrates a sensory substitution device into her life, the process involves perceptual learning, that is, ‘relatively long-lasting changes to an organism’s perceptual system that improve its ability to respond to its environment’ (Goldstone 1998: 585). In this paper, I explore ways in which the extensive literature on perceptual learning can be applied to help improve sensory substitution devices. I then use these findings to answer a philosophical question. Much of the philosophical debate surrounding sensory (...) substitution devices concerns what happens after perceptual learning occurs. In particular, should the resultant perceptual experience be classified in the substituted modality (as vision), in the substituting modality (as auditory or tactile), or in a new sense modality? I propose a novel empirical test to help resolve this philosophical debate. (shrink)

Joint attention has been extensively studied in the developmental literature because of overwhelming evidence that the ability to socially coordinate visual attention to an object is essential to healthy developmental outcomes, including language learning. The goal of this study was to understand the complex system of sensory-motor behaviors that may underlie the establishment of joint attention between parents and toddlers. In an experimental task, parents and toddlers played together with multiple toys. We objectively measured joint attention—and the sensory-motor (...) behaviors that underlie it—using a dual head-mounted eye-tracking system and frame-by-frame coding of manual actions. By tracking the momentary visual fixations and hand actions of each participant, we precisely determined just how often they fixated on the same object at the same time, the visual behaviors that preceded joint attention and manual behaviors that preceded and co-occurred with joint attention. We found that multiple sequential sensory-motor patterns lead to joint attention. In addition, there are developmental changes in this multi-pathway system evidenced as variations in strength among multiple routes. We propose that coordinated visual attention between parents and toddlers is primarily a sensory-motor behavior. Skill in achieving coordinated visual attention in social settings—like skills in other sensory-motor domains—emerges from multiple pathways to the same functional end. (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)

This is the text of an invited talk exploring the connections between two apparently distinct notions of affect, sensory versus core affect. It is basically a progress report. It is exploratory and tentative. It starts from a mild puzzle about the apparent mismatch between the notion of affect that affective neuroscientists generally deploy and the notion of affect that emotion psychologists deploy. The notion favored by psychologists is the notion of core affect. The phenomenon studied by affective neuroscientists is (...) usually the notion of sensory affect. It's not clear how these two notions are related to each other. I'll present the main outlines of both notions, make some critical observations, and raise a few questions at the end. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful (...) wholes to their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (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 sensory (...) experience comes apart from what it represents. Second, we may need to abandon the idea that sensory experiences are assessable for veridicality. (shrink)

It is hoped that modern sensory substitution and augmentation devices will be able to replace or expand our senses. But to what extent has this been achieved to date? To what extent are the experiences created by sensory substitution devices like the sensory experiences that we are trying to replace? To what extent can we augment people’s senses providing them with new information and new experiences? The first aim of this introduction is to delve deeply into this (...) question to discover the usefulness of these devices, to outline the different sorts of experience that might be created, and what the evidence tells us about these experiences. While there are some reasons to be hopeful about the powers of sensory substitution devices, there are also reasons to wonder whether they will ever really have the practical applications that we hope they might have. The second aim is to look to see whether the study of modern sensory substitution and augmentation devices can shed light on the nature of our senses and perception in general. Much of the philosophical, psychological, and neuroscientific work that takes place concerning sensory substitution and augmentation is keenly aware of the possibility that it might help our understanding and it seeks to comprehend many different aspects of perception. (shrink)

One of the central limitations of sensory substitution devices (SSDs) is their inability to reproduce the non-sensory feelings that are normally associated with visual experiences, especially hedonic and aesthetic responses. This limitation is sometimes reported to cause SSD users frustration. To make matters worse, it is unclear that improvements in acuity, bandwidth, or training will resolve the issue. Yet, if SSDs are to actually reproduce visual experience in its fullness, it seems that the reproduction of non-sensory feelings (...) will be of some importance. We offer a novel solution. Researchers can produce hedonic and aesthetic responses by eliciting these feelings artificially, pairing distal objects that should be pleasurable to pleasurable stimulus outputs from the SSD. We outline two strategies for accomplishing this: first, by means of a prefixed, hardwired, association of pleasant distal objects to pleasant stimulus outputs from the SSD; second, by means of a flexible, feedback-based association which creates associations based on a subject-directed matching of distal objects to patterns of stimuli from the SSD which the subject takes to have the corresponding hedonic properties. We evaluate some problems with both strategies, and we argue that the feedback-based strategy is more promising. Researchers can use this strategy to help the blind, allowing them to take pleasure in the objects they perceive using SSDs. (shrink)

[This is the penultimate version, please send me an email for the final version]. Some sensations are pleasant, some unpleasant, and some are neither. Furthermore, those that are pleasant or unpleasant are so to different degrees. In this essay, I want to explore what kind of a difference is the difference between these three kinds of sensations. I will develop a comprehensive three-level account of sensory pleasure that is simultaneously adverbialist, functionalist and is also a version of a satisfied (...) experiential-desire account. (shrink)

This paper advances the thesis that sensory concepts have as a semantic component the first-person indexical. It is argued that the private nature of our access to our own sensations forces, in our talking about them, an indexical reference to the inner states of the speaker in lieu of publicly accessible properties by which reference is usually fixed. Indexicals, such as ‘here’, can be understood despite ignorance of their referent. Such is the case with sensory terms. Furthermore, the (...) thesis that sensory terms are indexical has considerable explanatory power. I give two examples: firstly, I argue that clashes of intuition over Block's ‘inverted spectrum’ thought experiment can be explained by appeal to semantic properties of indexicals. Secondly, I argue that multiple realisability intuitions can be shown to be consistent with the view that sensations are type-identical with brain states. (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)

How could neural processes be associated with phenomenal consciousness? We present a way to answer this question by taking the counterintuitive stance that the sensory feel of an experience is not a thing that happens to us, but a thing we do: a skill we exercise. By additionally noting that sensory systems possess two important, objectively measurable properties, corporality and alerting capacity, we are able to explain why sensory experience possesses a sensory feel, but thinking and (...) other mental processes do not. We are additionally able to explain why different sensory feels differ in the way they do. (shrink)

Is the flavor of mint reducible to the minty smell, the taste, and the menthol-like coolness on the roof of one’s mouth, or does it include something over and above these—something not properly associated with any one of the contributing senses? More generally, are there features of perceptual experiences—so-called novel features—that are not associated with any of our senses taken singly? This question has received a lot of attention of late. Yet surprisingly little attention has been paid to the question (...) of what it means to say that a feature is associated with a sensory modality in the first place. Indeed, there is only one fully developed proposal in the literature, due to Casey O’Callaghan. I argue that this proposal is too permissive to inform the debate over novel features. I go on to argue that all attempts to formulate a better proposal along these lines fail. The corollary of my arguments is that the question of the existence of novel features is poorly formed. Furthermore, the problem generalizes, with the result that we should not rely on our pre-theoretical notions of the senses as the basis of theorizing about the features of perceptual experiences. (shrink)

This paper highlights the significance of sensory studies and psychophysical investigations of the relations between psychic and physical phenomena for our understanding of the development of the physics discipline, by examining aspects of research on sense perception, physiology, esthetics, and psychology in the work of Gustav Theodor Fechner, Hermann von Helmholtz, Wilhelm Wundt, and Ernst Mach between 1860 and 1871. It complements previous approaches oriented around research on vision, Fechner’s psychophysics, or the founding of experimental psychology, by charting Mach’s (...) engagement with psychophysical experiments in particular. Examining Mach’s study of the senses and esthetics, his changing attitudes toward the mechanical worldview and atomism, and his articulation of comparative understandings of sensual, geometrical, and physical spaces helps set Mach’s emerging epistemological views in the context of his teaching and research. Mach complemented an analytic strategy focused on parallel psychic and physical dimensions of sensation, with a synthetic comparative approach – building analogies between the retina, the individual, and social life, and moving between abstract and sensual spaces. An examination of the broadly based critique that Mach articulated in his 1871 lecture on the conservation of work shows how his historical approach helped Mach cast what he now saw as a narrowly limiting emphasis on mechanics as a phase yet to be overcome. (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)