Some recently popular accounts of perception account for the phenomenal character of perceptual experience in terms of the qualities of objects. My concern in this paper is with naturalistic versions of such a phenomenal externalist view. Focusing on visual spatial perception, I argue that naturalistic phenomenal externalism conflicts with a number of scientific facts about the geometrical characteristics of visual spatial experience.

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She (...) then introduces a method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

The human experience is shaped by information from different perceptual channels, but it is still debated whether and how differential experience influences language use. To address this, we compared congenitally blind, blindfolded, and sighted people's descriptions of the same motion events experienced auditorily by all participants (i.e., via sound alone) and conveyed in speech and gesture. Comparison of blind and sighted participants to blindfolded participants helped us disentangle the effects of a lifetime experience of being blind versus (...) the task-specific effects of experiencing a motion event by sound alone. Compared to sighted people, blind people's speech focused more on path and less on manner of motion, and encoded paths in a more segmented fashion using more landmarks and path verbs. Gestures followed the speech, such that blind people pointed to landmarks more and depicted manner less than sighted people. This suggests that visual experience affects how people express spatial events in the multimodal language and that blindness may enhance sensitivity to paths of motion due to changes in event construal. These findings have implications for the claims that language processes are deeply rooted in our sensory experiences. (shrink)

How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense-perceptually given while the subject is occupying the spatial perspective on the object that they currently are—I call this the horizonality of visual (...) experience. Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

Abstract: How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense- perceptually given while the subject is occupying the spatial perspective on the object that they currently are – I call this the (...) horizonality of visual experience. Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

red and round. According to common sense, the red, round thing we see is the tomato itself. When we have a hallucinatory vision of a tomato, however, there may be present to us no red and round phys- ical object. Still, we use the words 'red' and 'round' to describe that situation as well, this time applying them to the visual experience itself. We say that we have a red, round visual image, or a visual (...) class='Hi'>experience of a red disk, or some such. Because we see physical objects far more often than we hallucinate, we apply terms for color and shape to physical objects far more often than to visual experiences. Moreover, different theories of perception explain in different ways the applications such terms have to physical objects and to visual experiences. But whatever their frequency and explanation, it seems clear that both sorts of application occur. (shrink)

The usual visual experiences possess a perspectival phenomenology as they seem to present objects from a certain perspective. Nevertheless, it is not obvious how to characterise experiential content determining such phenomenology. In particular, while there are many works investigating perspectival properties of experienced objects, a question regarding how subject is represented in visual perspectival experiences attracted less attention. In order to address this problem, I consider four popular phenomenal intuitions regarding perspectival experiences and argue that the major theories (...) of perspectival experiences do not account for all of them. Relying on these observations, I show how a theory which accommodates all these intuitions can be developed by (a) recognising that visual perspectival experiences are, in fact, multimodal visuo-bodily experiences and (b) distinguishing between egocentric and structural contents. (shrink)

When we watch movies, or are tricked by a trompe-l’oeil painting, we seem to be visually representing possible worlds; often non-actual possible worlds. This suggests that we really can visually represent possible worlds. The suggested claim is refined and developed here into a theory of visual experience that holds that all visual experiences, both veridical and non-veridical, represent possible worlds, many of which are non-actual.

My purpose is to take a close look at the nature of visual content. I discuss the view that visual experiences have only existential contents, the view that visual experiences have either singular or gappy contents, and the view that visual experiences have multiple contents. I also consider a proposal about visual content inspired by Kaplan's well known theory of indexicals. I draw out some consequences of my discussion for the thesis of intentionalism with respect (...) to the phenomenal character of visual experience. (shrink)

This paper argues that various phenomenological considerations support a non-representational causal account of visual experience. This position claims that visual experiences serve as a non-representational causally efficacious medium for the production of beliefs concerning the external world. The arguments are centered on defending a non-representational causal account’s understanding of the cognitive significance of visual experience. Among other things, such an account can easily explain the inextricable role that background beliefs and conceptual capacities play in perceptually-based (...) external world belief-formation processes, the fact that visual mental states constrain beliefs because of their presentational phenomenology, and the phenomenon known as the transparency of visual experience. (shrink)

My purpose is to take a close look at the nature of visual content. I discuss the view that visual experiences have only existential contents, the view that visual experiences have either singular or gappy contents, and the view that visual experiences have multiple contents. I also consider a proposal about visual content inspired by Kaplan's well known theory of indexicals. I draw out some consequences of my discussion for the thesis of intentionalism with respect (...) to the phenomenal character of visual experience. (shrink)

The transparency of visual experience is a widely held and important thesis in the philosophy of perception. Critical discussion of transparency has focused on visual experiences, such as the experience of visual blur that are taken to be counter examples to transparency. Here, I consider a novel objection to transparency that does not depend on intuitions about examples. The objection is that if transparency is true then we cannot explain our ability to think about our (...) visual experiences as such. In response to this objection, I develop an account of how we are able to think about our own visual experiences as such that is compatible with transparency. (shrink)

Empirical research suggests that motive states modulate perception affecting perceptual processing either directly, or indirectly through the modulation of spatial attention. The affective modulation of perception occurs at various latencies, some of which fall within late vision, that is, after 150 ms. poststimulus. Earlier effects enhance the C1 and P1 ERP components in early vision, the former enhancement being the result of direct emotive effects on perceptual processing, and the latter being the result of indirect effects of emotional stimuli on (...) perceptual processing that automatically capture exogenous attention. Other research suggests that emotional stimuli do not capture attention automatically but attentional capture is conditioned on the context. Since context dependent effects are first registered with the elicitation of N1 ERP component about 170 ms. poststimulus, emotional stimuli affect late vision. However, the early affective modulation of early vision by emotive states threatens the cognitive impenetrability of early vision since emotive states are associated with learning and past experiences. I argue that the emotive modulation of early vision does not entail the cognitive penetrability of early vision. First, the early indirect affective modulation of P1 is akin to the effects of spatial pre-cueing by non-emotive cues and these preparatory effects do not signify the cognitive impenetrability of early vision. Second, because the direct modulation of C1 signifies an initial, involuntary appraisal of threat in the incoming stimulus that precedes any cognitive states. (shrink)

Blindsight is a kind of residual vision found in people with lesions to V1. Subjects with blindsight typically report no visual awareness, but they are nonetheless able to make above-chance guesses about the shape, location, color and movement of visual stimuli presented to them in their blind field. A different kind of blindsight, sometimes called type 2 blindsight, is a kind of residual vision found in patients with V1 lesions in the presence of some residual awareness. Type 2 (...) blindsight differs from ordinary visual experience in lacking the particularity, transparency and fine-grainedness often taken to be essential to visual experience, at least in veridical cases. I argue that the case of type 2 blindsight provides a counterexample to the view that these characteristics are essential to veridical visual experience and that this gives us reason to resist the view that visual experience is essentially a perceptual relation to external objects. In the second part of the paper I argue that the case of type 2 blindsight yields important insights into the effects of attentional modulation on perceptual content and that cases of attentional modulation of appearance are not at odds with the view that the phenomenology of visual experience flows from its content. (shrink)

This chapter argues, using the method of phenomenal contrast, that causation is represented in visual experience. The conclusion is contrasted with the conclusions drawn by Michotte in his book The Perception of Causation.

The thesis that we can visually perceive causal relations is distinct from the thesis that visual experiences can represent causal relations. I defend the latter thesis about visual experience, and argue that although they are suggestive, the data provided by Albert Michotte's experiments on perceptual causality do not establish this thesis. Turning to the perception of causality, I defend the claim that we can perceive causation against the objection that its arcane features are unlikely to be represented (...) in experience. (shrink)

In this paper, I argue that certain perceptual relations are represented in visual experience.

In this paper I argue that causal relations between objects are represented in visual experience, and contrast my argument and its conclusion with Michotte's results from the 1960's.

Not all research in machine consciousness aims to instantiate phenomenal states in artefacts. For example, one can use artefacts that do not themselves have phenomenal states, merely to simulate or model organisms that do. Nevertheless, one might refer to all of these pursuits -- instantiating, simulating or modelling phenomenal states in an artefact -- as 'synthetic phenomenality'. But there is another way in which artificial agents (be they simulated or real) may play a crucial role in understanding or creating consciousness: (...) 'synthetic phenomenology'. Explanations involving specific experiential events require a means of specifying the contents of experience; not all of them can be specified linguistically. One alternative, at least for the case of visual experience, is to use depictions that either evoke or refer to the content of the experience. Practical considerations concerning the generation and integration of such depictions argue in favour of a synthetic approach: the generation of depictions through the use of an embodied, perceiving and acting agent, either virtual or real. Synthetic phenomenology, then, is the attempt to use the states, interactions and capacities of an artificial agent for the purpose of specifying the contents of conscious experience. This paper takes the first steps toward seeing how one might use a robot to specify the non- conceptual content of the visual experience of an (hypothetical) organism that the robot models. (shrink)

Although the sensorimotor account is a significant step forward, it cannot explain experiences of entoptic phenomena that violate normal sensorimotor contingencies but nonetheless are perceived as visual. Nervous system structure limits how they can be interpreted. Neurophysiology, combined with a sensorimotor theory, can account for space constancy by denying the existence of permanent representations of states that must be corrected or updated.

Abstract: In this paper I consider recent attempts to establish that the geometry of visual experience is a spherical geometry. These attempts, offered by Gideon Yaffe, James van Cleve and Gordon Belot, follow Thomas Reid in arguing for an equivalency of a geometry of ‘visibles’ and spherical geometry. I argue that although the proposed equivalency is successfully established by the strongest form of the argument, this does not warrant any conclusion about the geometry of visual experience. (...) I argue, firstly, that the resistance of this contemporary argument to empirical considerations counts against its plausibility. Moreover, I argue that the contemporary approach provides no compelling reason for supposing that the geometry offered as the geometry of ‘visibles’ is the correct geometrical description of visual experience. (shrink)

Both introspection and empirical studies suggest that visual attention can affect the phenomenology of our visual experience. However, the exact character of such effects is far from clear. My aim in this chapter is to spell out the main difficulties involved in attempting to achieve a clearer view of these effects, and to make some suggestions as to how we can make progress with this issue while avoiding tempting mistakes. I do this by discussing the question of (...) whether there is a sense in which attention to a seen object can be said to contribute to the object’s visual phenomenal salience. It is often suggested that focusing visual attention on a seen object renders the object phenomenally salient. I look at potential evidence for this suggestion, and consider what form, if any, of visual phenomenal salience it may support. (shrink)

InReference and Consciousness,1John Campbell attempts to a make a case that what he calls ‘the Relational View’ of visual experience, a view that he champions, is superior to what he calls ‘the Representational View’.2I argue that his attempt fails. In section 1, I spell out the two views. In section 2, I outline Campbell's case that the Relational View is superior to the Representational View and offer a diagnosis of where Campbell goes wrong. In section 3, I examine (...) the case in detail and argue that it fails. Finally, in section 4, I mention two very well-known problems for the Relational View that are unresolved in the book. (shrink)

Geometrical intuitions spontaneously drive visuo-spatial reasoning in human adults, children and animals. Is their emergence intrinsically linked to visual experience, or does it reflect a core property of cognition shared across sensory modalities? To address this question, we tested the sensitivity of blind-from-birth adults to geometrical-invariants using a haptic deviant-figure detection task. Blind participants spontaneously used many geometric concepts such as parallelism, right angles and geometrical shapes to detect intruders in haptic displays, but experienced difficulties with symmetry and (...) complex spatial transformations. Across items, their performance was highly correlated with that of sighted adults performing the same task in touch (blindfolded) and in vision, as well as with the performances of uneducated preschoolers and Amazonian adults. Our results support the existence of an amodal core-system of geometry that arises independently of visual experience. However, performance at selecting geometric intruders was generally higher in the visual compared to the haptic modality, suggesting that sensory-specific spatial experience may play a role in refining the properties of this core-system of geometry. (shrink)

The on-going debate over the ‘admissible contents of perceptual experience’ concerns the range of properties that human beings are directly acquainted with in perceptual experience. Regarding vision, it is relatively uncontroversial that the following properties can figure in the contents of visual experience: colour, shape, illumination, spatial relations, motion, and texture. The controversy begins when we ask whether any properties besides these figure in visual experience. We argue that ‘ensemble properties’ should be added to (...) the list of visually admissible properties. Ensemble properties are features that belong to a set of perceptible objects as a whole as opposed to the individuals that constitute that set. They include such features as the mean size of an array of shapes or the average emotional expression of an array of faces. Recent work in vision science has yielded compelling evidence that the visual system routinely encodes such properties. We argue that epistemological considerations provide strong reasons to think that these properties figure in visual experience. Judgements about ensemble properties are immediately warranted by our perceptual experience, and the only plausible way that a perceptual experience could confer this warrant is if it confers awareness of ensemble properties. (shrink)

John Campbell argues that visual attention to objects is the means by which we can refer to objects, and that this is so because conscious visual attention enables us to retrieve information about a location. It is argued here that while Campbell is right to think that we visually attend to objects, he does not give us sufficient ground for thinking that consciousness is involved, and is wrong to assign an intermediary role to location. Campbell’s view on sortals (...) is also queried, as is his espousal of the so-called Referential View of Experience. (shrink)

Standard, linguistic means of specifying the content of mental states do so by expressing the content in question. Such means fail when it comes to capturing non-conceptual aspects of visual experience, since no linguistic expression can adequately express such content. One alternative is to use depictions: images that either evoke (reproduce in the recipient) or refer to the content of the experience. Practical considerations concerning the generation and integration of such depictions argue in favour of a synthetic (...) approach: the generation of depictions through the use of an embodied, perceiving and acting agent, either virtual or real. This paper takes the first steps in an investigation as to how one might use a robot to specify the non-conceptual content of the visual experience of an (hypothetical) organism that the robot models. (shrink)

Thomas Reid's Geometry of Visibles, according to which the geometrical properties of an object's perspectival appearance equal the geometrical properties of its projection on the inside of a sphere with the eye in its centre allows for two different interpretations. It may (1) be understood as a theory about phenomenal visual space – i.e. an account of how things appear to human observers from a certain point of view – or it may (2) be seen as a mathematical model (...) of viewpoint-relative but mind-independent relational properties of objects. This paper makes a systematic and a historical claim. I shall argue, first, that given certain features of the human visual system phenomenal visual space differs in several aspects from Reidean visual space. Secondly, I suggest that, since Reid was aware of some of these empirical facts, we should interpret Reid as endorsing the second interpretation of the Geometry of Visibles. (shrink)

Adam Pautz (Pautz, Nanay (ed), Current Controversies in philosophy of perception, Routledge, New York and London, 2017, Pautz, Philosophical Issues 30:257–272, 2020 ) coined the phrase “the Laws of Appearance” for some underappreciated features of perceptual experience. Pautz suggests that the modal status of the Laws presents a puzzle: it is problematic to regard them as necessary, and also problematic to regard them as contingent. This paper presents possible counterexamples to the laws, suggesting that they are contingent as originally (...) stated (Sect. 1 ). But the laws are readily modified so as to express constitutive features of normal human visual experience, and thus understood they are metaphysically necessary (Sect. 2 ). Analogous pictorial laws govern representational painting, and these can be explained by appealing to the representational format of the medium (Sect. 3 ). This invites the question whether there might be format-based explanations of the Laws of Appearance. If so, can the contingency of the format facts be squared with the necessity of the Laws? The paper answers “Yes” to both questions (Sect. 4 ). (shrink)

I argue that, holding that the specification of Intentional content of the visual experience should be in the form of a proposition, John Searle gives up the first-person Intentionality and therefore bypasses the first-person important distinction between simple seeing and judgmental seeing. The specification of the content only in the form of the proposition does not allow making such a distinction on the level of description. Then I argue that the feature of the causal self-referentiality of the (...) class='Hi'>visual experience belongs to its psychological mode but not, as Searle holds, to the Intentional content of the visual experience. (shrink)

Do perceiving subjects represent kind properties in the content of their conscious visual experience when they see and recognize instances of those natural kinds? In Part 1 of my thesis I clarify this question, in Part 2 I answer it, and in Part 3 I raise a problem for previous answers. Part 1 conceives of conscious experience in an internalist way, and the unified conscious episode does not exclude having beliefs about what one sees. Following Siegel and (...) Bayne, Part 2 formulates two arguments in support of representing kind properties in the content of experience. In Part 3, I argue that attempts to distinguish visual experiences from visual beliefs might fail to account for the interplay of sensory and cognitive elements in visual object recognition. I conclude by suggesting it has not been established that visual experiences can be distinguished from visual beliefs. (shrink)

This essay begins with a discussion of the phenomenon of filling in. It is argued that filling in is naturally accounted for by taking visual experiences to be importantly like drawn pictures of the world outside. An alternative proposal is then considered, one that models visual experiences on incomplete descriptions. It is shown that introspection does not favor the pictorial view. It is also shown that the phenomenon of blurriness in visual experience does not provide a (...) good reason for favoring the pictorial view either. Why, then, be a pictorialist? It is argued that visual experiences conform to what have been called “the laws of appearance” and that their conformity to these laws gives us an excellent reason for preferring the pictorial account. (shrink)

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

This paper proposes a classificatory framework for disjunctivism about the phenomenology of visual perceptual experience. Disjunctivism of this sort is typically divided into positive and negative disjunctivism. This distinction successfully reflects the disagreement amongst disjunctivists regarding the explanatory status of the introspective indiscriminability of veridical perception and hallucination. However, it is unsatisfactory in two respects. First, it cannot accommodate eliminativism about the phenomenology of hallucination. Second, the class of positive disjunctivism is too coarse-grained to provide an informative overview (...) of the current dialectical landscape. Given this, I propose a classificatory framework which preserves the positive-negative distinction, but which also includes the distinction between eliminativism and non-eliminativism, as well as a distinction between two subclasses of positive disjunctivism. In describing each class in detail, I specify who takes up each position in the existing literature, and demonstrate that this classificatory framework can disambiguate some existing disjunctivist views. (shrink)

This essay begins with a discussion of the phenomenon of filling in. It is argued that filling in is naturally accounted for by taking visual experiences to be importantly like drawn pictures of the world outside. An alternative proposal is then considered, one that models visual experiences on incomplete descriptions. It is shown that introspection does not favor the pictorial view. It is also shown that the phenomenon of blurriness in visual experience does not provide a (...) good reason for favoring the pictorial view either. Why, then, be a pictorialist? It is argued that visual experiences conform to what have been called “the laws of appearance” and that their conformity to these laws gives us an excellent reason for preferring the pictorial account. (shrink)