I open my eyes and see that the lemon before me is yellow. States like this—states of seeing that $p$ —appear to be visual perceptual states, in some sense. They also appear to be propositional attitudes (and so states with propositional representational contents). It might seem, then, like a view of perceptual experience on which experiences have propositional representational contents—a Propositional View—has to be the correct sort of view for states of seeing that $p$ . And thus we (...) can’t sustain fully general non-Propositional but Representational, or Relational Views of experience. But despite what we might initially be inclined to think when reflecting upon the apparent features of states of seeing that $p$ , a non-propositional view of seeing that $p$ is, I argue, perfectly intelligible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Merging Traditional Technique Vocabularies with Democratic Teaching Perspectives in Dance EducationA Consideration of Aesthetic Values and Their Sociopolitical ContextsBecky Dyer (bio)IntroductionConventional aesthetic values in dance traditionally have been wed to long-established authoritarian teaching approaches in American professional dance companies and university dance programs. Developed over time from a mixture of enduring cultural tastes, aesthetic ideals, and historical influences, aesthetic values play a significant role in teaching and learning processes (...) in the classroom, although the impact of their presence on learning is often indiscernible or paid little attention. As dance educators in higher education make efforts to move toward more democratic teaching perspectives, they often find themselves philosophically lodged between established approaches to teaching traditional, codified vocabularies and aesthetics and more contemporary, student-centered, and democratically oriented perspectives to teaching and learning dance. Attention to the sociopolitical contexts of dance training gives practitioners opportunities to consider aesthetic values of dance from differing cultural vantage points and the perspectives by which these values are taught and learned.Each learning circumstance in dance is a complex weaving of personal and social experience involving individuals, communities, movers, and viewers. Movement aesthetic values emerge from personal and communal morals and ideals as well as social mores of the body, which create contextual lenses for experiencing, interpreting, and making meaning of movement vocabularies created and perpetuated in dance communities. It is important that teachers who seek to incorporate more democratically oriented, student-centered teaching perspectives become mindful of ways social values and perceptual/contextual frameworks impact personal [End Page 108] and communal practices in dance. Approaches to learning technique that consider sociocultural factors of dance movement aesthetics—wherein teachers and learners are led to recognize and reflect upon personal, social, and aesthetic values embodied in movement and embedded in movement vocabularies—can lead teachers and learners to better understand the significance of learning in dance as it relates to personal and social worlds beyond the classroom.This article will suggest how movement analysis from a socially contextualized perspective can inform understanding about the significance of sociopolitical contexts and aesthetic values in Western dance training. Perspectives of movement analysis will provide groundwork for discussing perceivable ways to address discrepancies between democratic and authoritarian teaching viewpoints and to challenge the prominent linking of conventional aesthetic values and vocabularies, as well as codified techniques, to authoritarian practices. The discussion will address relationships between pedagogical perspectives and ideologies held by teachers concerning the place and worth of conventional aesthetic values and the nature of aesthetic experiences in the dance technique classroom, and the potential understandings and meanings their students construct.Foundations of Movement Analysis: The Ideas and Practices of Rudolf LabanRecognizing embedded personal and social aesthetic values in movement is an important initial stage in developing more critically reflective practices that promote meaning, agency, and student interest in learning. The task is challenging because the only values accessibly evident to the bystander, and often the mover, are visual ones. Yet, as Rudolf Laban (1879-1958) suggested, intangible values also inspire movement. Laban created a theoretical framework—referred to as Laban Movement Analysis—for movement exploration, description, and analysis to consider both noticeably apparent and less-tangible values of movement by investigating movement phenomena and factors that generate them.1 The praxis-oriented system involves reflecting on movement observations, considering emotional and mental facets of movement, and taking into account experiential bodily perspectives of the mover.2Although one of Laban's fundamental purposes for developing a descriptive vocabulary for movement was to facilitate the mastery of dance technique,3 his teaching emphasized the "harmonious expressiveness of the whole individual," as he aimed to facilitate dancers' ability to understand and use their bodies in order to discover individual ways of expressing themselves and communicating.4 Laban's attitudes toward training were in sharp contrast to approaches of the day, yet interestingly, they were not [End Page 109] opposed to them. For example, common dance gestures and postures were expanded into free exploration and studied from diverse points of view rather than a narrow range of perspectives, aesthetic values, and movement qualities.5Laban's theory of "Effort," which he linked to emotions as well as... (shrink)

Nagel’s challenge is to devise an objective phenomenological vocabulary that can describe the objective structural similarities between aural and visual perception. My contention is that Charles Sanders Peirce’s little studied and less understood phenomenological vocabulary makes a significant contribution to meeting this challenge. I employ Peirce’s phenomenology to identify the structural isomorphism between seeing a scarlet red and hearing a trumpet’s blare. I begin by distinguishing between the vividness of an experience and the intensity of a quality. I (...) proceed to identify further points of structural isomorphism (a) between the experience of seeing a scarlet red and of hearing a trumpet blare and (b) between the qualities of those experiences. Lastly, I gesture towards how these distinctions can be an aid in describing what it is like to be a bat. (shrink)

The vocabulary for describing odors in English natural language is not well understood, as prior studies of odor descriptions have often relied on preselected descriptors and odor ratings. Here, we present a data-driven approach that automatically identifies English odor descriptors based on their degree of olfactory association, and derive their semantic organization from their distributions in natural texts, using a distributional-semantic language model. We identify 243 descriptors that are much more strongly associated with olfaction than English words in general. (...) We then derive the semantic organization of these olfactory descriptors, and find that it is captured by four clusters that we name Offensive, Malodorous, Fragrant, and Edible. The semantic space derived from our model primarily differentiates descriptors in terms of pleasantness and edibility along which our four clusters are positioned, and is similar to a space derived from perceptual data. The semantic organization of odor vocabulary can thus be mapped using natural language data (e.g., online text), without the limitations of odor-perceptual data and preselected descriptors. Our method may thus facilitate research on olfaction, a sensory system known to often elude verbal description. (shrink)

Originally formulated as a theory of perception, ecological psychology has shown in recent decades an increasing interest in language. However, a comprehensive approach to language by ecological psychology has not yet been developed, as there is neither a naturalist philosophy of language nor one that takes ecological psychology as its scientific background. Our goal here is to argue that a subject naturalist and non-factualist framework can open the possibility of an expressivist analysis of perceptual judgments that is compatible with (...) the ecological understanding of perception, showing that such utterances do not work as descriptions of facts or states-of-affairs, but rather say something about the practical requirements necessary to display a perceptual vocabulary. We will also argue that this approach allows an understanding of perceptual content as clusters of socially-mediated affordances. If our proposal is sound, it would constitute a first and fruitful approximation toward establishing a naturalist link between embodied cognitive science and philosophy of language. (shrink)

This is probably the most important book on perception since R. J. Hirst's The Problems of Perception. Ben-Ze'ev presents a highly original, very detailed, comprehensive, and plausible theory of perception, cognition, and other mental phenomena At last we have a viable alternative to the troubled dualistic, representational, "veil of perceptions" theories initiated in the seventeenth century and to the equally troubled materialistic, reductionist theories of the Churchlands et al. Ben-Ze'ev has made a brilliant synthesis of some of the most fruitful (...) ideas of Aristotle, Kant, and others, and he shows that many recent findings in psychological experiments confirm, or are more compatible with, his theory than the alternatives. He defines perception as an "intentional state of direct awareness of the environment." Ben-Ze'ev makes a very convincing case for his nonreductionist, holistic, intuitively plausible, and empirically-grounded theory. The world that physics is gradually disclosing to us is not the "perceptual environment" because it belongs to a different level of description. This parallels his explanation of the relationship between neural states and mental states, which is not that of cause and effect. Rather, they are stratified and belong to different vocabularies and different categories. Ben-Ze'ev has a version of the dual-aspect or multi-aspect theory of mind and body which strikes me as the only remotely plausible approach. The physical world may not be the world we know and love but the world of sights and sounds is real in its own way. Each sort of perceiver has its own kind of access to genuine, emergent properties of the world. (shrink)

Identifying the referent of novel words is a complex process that young children do with relative ease. When given multiple objects along with a novel word, children select the most novel item, sometimes retaining the word‐referent link. Prior work is inconsistent, however, on the role of object novelty. Two experiments examine 18‐month‐old children's performance on referent selection and retention with novel and known words. The results reveal a pervasive novelty bias on referent selection with both known and novel names and, (...) across individual children, a negative correlation between attention to novelty and retention of new word‐referent links. A computational model examines possible sources of the bias, suggesting novelty supports in‐the‐moment behavior but not retention. Together, results suggest that when lexical knowledge is weak, attention to novelty drives behavior, but alone does not sustain learning. Importantly, the results demonstrate that word learning may be driven, in part, by low‐level perceptual processes. (shrink)

Abstract: Any normative inferentialist view confronts a set of challenges in the form of how to account for the sort of ordinary empirical descriptive vocabulary that is involved, paradigmatically, in our noninferential perceptual responses and knowledge claims. This chapter lays out that challenge, and then argues that Sellars’ original multilayered account of such noninferential responses in the context of his normative inferentialist semantics and epistemology shows how the inferentialist can plausibly handle those sorts of cases without stretching the (...) notion of inference beyond its standard uses. Finally, it is suggested that for Sellars there were deeply naturalistic motivations for his own normative inferentialism, though the latter raises further questions as to whether this really represents, as Sellars thought, a genuinely scientific naturalist outlook on meaning and conceptual cognition. (shrink)

Sharing a public language facilitates particularly efficient forms of joint perception and action by giving interlocutors refined tools for directing attention and aligning conceptual models and action. We hypothesized that interlocutors who flexibly align their linguistic practices and converge on a shared language will improve their cooperative performance on joint tasks. To test this prediction, we employed a novel experimental design, in which pairs of participants cooperated linguistically to solve a perceptual task. We found that dyad members generally showed (...) a high propensity to adapt to each other’s linguistic practices. However, although general linguistic alignment did not have a positive effect on performance, the alignment of particular task-relevant vocabularies strongly correlated with collective performance. In other words, the more dyad members selectively aligned linguistic tools fit for the task, the better they performed. Our work thus uncovers the interplay between social dynamics and sensitivity to task affordances in successful cooperation. (shrink)

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Cognitive scientists have a variety of approaches to studying cognition: experimental psychology, computer science, robotics, neuroscience, educational psychology, philosophy of mind, and psycholinguistics, to name but a few. In addition, they also differ in their approaches to cognition - some of them consider that the mind works basically like a computer, involving programs composed of abstract, amodal, and arbitrary symbols. Others claim that cognition is embodied - that is, symbols must be grounded on perceptual, motoric, and emotional experience. The (...) existence of such different approaches has consequences when dealing with practical issues such as understanding brain disorders, designing artificial intelligence programs and robots, improving psychotherapy, or designing instructional programs. The symbolist and embodiment camps seldom engage in any kind of debate to clarify their differences. This book is the first attempt to do so. It brings together a team of outstanding scientists, adopting symbolist and embodied viewpoints, in an attempt to understand how the mind works and the nature of linguistic meaning. As well as being interdisciplinary, all authors have made an attempt to find solutions to substantial issues beyond specific vocabularies and techniques. (shrink)

In this broad interview Robert Brandom talks about many themes concerning his work and about his career and education. Brandom reconstructs the main debts that he owes to colleagues and teachers, especially Wilfrid Sellars, Richard Rorty, and David Lewis, and talks about the projects he’s currently working on. He also talks about contemporary and classical pragmatism, and of the importance of classical thinkers like Kant and Hegel for contemporary debates. Other themes go deeper into the principal topics of his theoretical (...) work – in particular, his later understanding of expressivism, his take on the debate between representationalists and anti-representationalists in semantics, the main open problems for his wide inferentialist project, and his methodological preference for the normative vocabulary in his account of discursive practice. Finally, Brandom touches on the epistemic role of perception and on his views about the importance of the phenomenological aspects of perceptual experience. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...) to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

A common view holds that consciousness is needed for knowledge acquired in one domain to be applied in a novel domain. We present evidence for the opposite; where the transfer of knowledge is achieved only in the absence of conscious awareness. Knowledge of artificial grammars was examined where training and testing occurred in different vocabularies or modalities. In all conditions grammaticality judgments attributed to random selection showed above-chance accuracy , while those attributed to conscious decisions did not. Participants also rated (...) each string’s familiarity and performed a perceptual task assessing fluency. Familiarity was predicted by repetition structure and was thus related to grammaticality. Fluency, though increasing familiarity, was unrelated to grammaticality. While familiarity predicted all judgments only those attributed to random selection showed a significant additional contribution of grammaticality, deriving primarily from chunk novelty. In knowledge transfer, as in visual perception , the unconscious may outperform the conscious. (shrink)

The complex notion of rasa, as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about (...) traditional Javanese music and aesthetics? In this first book on the subject, Rasa provides an entry into Javanese music as it is conceived by the people who know the tradition best: the musicians themselves. In one of the most thorough explorations of local aesthetics to date, author Marc Benamou argues that musical meaning is above all connotative - hence, not only learned, but learnable. Following several years performing and researching Javanese music in the regional and national cultural center of Solo, Indonesia, Benamou untangles the many meanings of rasa as an aesthetic criterion in Javanese music, particularly in court and court-derived gamelan traditions. While acknowledging that certain universal psychological tendencies may inspire parallel interpretations of musical meaning, Rasa demonstrates just how culturally specific such accrued, shared meanings can be. (shrink)

Maurice Merleau-Ponty’s phenomenology of the body has so far been widely neglected in the debate on practice theory. This failure is surprising considering Merleau-Ponty’s early contribution of a number of fundamental insights – including bodily practice as a theoretical basic unit, the priority of “practical sense” and “implicit knowledge” over consciousness, and the collectivity of practice. The article addresses these approaches in detail, examining them relative to corresponding concepts from Bourdieu and Foucault. It turns out that both theorists owe more (...) to their teacher than they were willing to admit. Revisiting Merlau-Ponty also offers the opportunity to both supplement practice theoretical vocabulary with the aspect of implicit perceptual knowledge and refine it with regard to the question of individual deviation from order. (shrink)

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. (...) And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled “reading” of technology explain the digital film language and experience? I contend that understanding the existential “early” film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde’s methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the “new age” term “moving image”, to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. (shrink)

Cognitive Reserve, according to a recent consensus definition of the NIH-funded Reserve and Resilience collaboratory,1 is constituted by any mechanism contributing to cognitive performance beyond, or interacting with, brain structure in the widest sense. To identity multivariate activation patterns fulfilling this postulate, we investigated a verbal Sternberg fMRI task and imaged 181 people with age coverage in the ranges 20–30 and 55–70. Beyond task performance, participants were characterized in terms of demographics, and neuropsychological assessments of vocabulary, episodic memory, (...) class='Hi'>perceptual speed, and abstract fluid reasoning. Participants studied an array of either one, three, or six upper-case letters for 3 s, then a blank fixation screen was presented for 7 s, to be probed with a lower-case letter to which they responded with a differential button press whether the letter was part of the studied array or not. We focused on identifying maintenance-related activation patterns showing memory load increases in pattern score on an individual participant level for both age groups. We found such a pattern that increased with memory load for all but one person in the young participants, and such a pattern for all participants in the older group. Both patterns showed broad topographic similarities; however, relationships to task performance and neuropsychological characteristics were markedly different and point to individual differences in Cognitive Reserve. Beyond the derivation of group-level activation patterns, we also investigated the inter-subject spatial similarity of individual working memory rehearsal patterns in the older participants’ group as a function of neuropsychological and task performance, education, and mean cortical thickness. Higher task accuracy and neuropsychological function was reliably associated with higher inter-subject similarity of individual-level activation patterns in older participants. (shrink)

Taken as a philosophical issue, the idea of representation implies the prior assumption of a difference between reality and its “doubles.” Things are paired with images, concepts, or symbols, acts with rules and norms, events with structures. Traditionally, the problem with representations has been their “accuracy,” the degree of fit between reality and its reproductions in the mind. When philosophers lost the hope of ever determining accuracy , they found consolation in the test of usefulness: a good representation is one (...) that works. The proof of its working is that it enables us to act on the world together.1 In such a frame, science, including anthropology, is conceived as the pursuit of privileged representations, privileged in that, by their nature of by their combination, they establish knowledge of a special kind. In the case of anthropology, “culture” has served as a sort of umbrella concept for representations. The strcuturalists have been most explicit about the need to think of representation in the plural, but their position is shared, in varying degrees, by all those who conceive of knowledge as the selection and combination of signs in systems, patterns, or structures, in short, as some kind of conceptual order ruling perceptual chaos. 1. Remember the connection between the Kantian quest for synthetic forms and Émile Durkheim’s idea of collective representations sustained by the moral authority of a society. Durkheim certainly was one to look for the “ethic” in the “ethnic” primitive, and it makes me wonder whether Stephen A. Tyler’s characterization of postmodern ethnography as a return to “an earlier and more powerful notion of the ethical character of all discourse, as captured in the ancient significance of the family of terms ‘ethos,’ ‘ethnos,’ ‘ethics’” might not signal a return to the Durkheimian fold . Johannes Fabian is professor of cultural anthropology at the University of Amsterdam. His publications include Jamaa: A Charismatic Movement in Katanga , Time and the Other: How Anthropology Makes Its Object , and Language and Colonial Power: The Appropriation of Swahili in the Former Belgian Congo, 1880-1938 . Two books will appear in 1990: History from Below: The Vocabulary of Elisabethville by André Yav, a commented edition-translation of a colonial history written in Swahili by the colonized for the colonized, and Power and Performance, a study of conceptions of power through popular wisdom and theater in Shaba/Zaire. (shrink)

The perception of the lightness of surfaces has been shown to be affected by information about the spatial configuration of those surfaces and their illuminants. For example, two surfaces of equal luminance can appear to be of very different lightness if one of the two appears to lie in a shadow. How are we to understand the character of the processes that integrate such spatial configuration information so as to yield the eventual appearance of lightness? This paper makes some simple (...) observations about the vocabulary of appearance used in these contexts, and proposes that the end results can be called "phenomenal" in a traditional sense of that word. Processes whose products are phenomenal are next distinguished from processes characterized in other terms: (a) processes of perceptual grouping; (b) processes of perceptual organization; and (c) attentional (as opposed to preattentive) processes. These four categories are conceptually and empirically distinct. In particular, the paper reviews some evidence that appearances as of contours, occlusion, and amodally completed shapes can occur preattentively. Some implications for understanding gestalt grouping processes are briefly discussed. (shrink)

This paper addresses word learning for human–robot interaction. The focus is on making a robotic agent aware of its surroundings, by having it learn the names of the objects it can find. The human user, acting as instructor, can help the robotic agent ground the words used to refer to those objects. A lifelong learning system, based on one-class learning, was developed. This system is incremental and evolves with the presentation of any new word, which acts as a class to (...) the robot, relying on instructor feedback. A novel experimental evaluation methodology, that takes into account the open-ended nature of word learning, is proposed and applied. This methodology is based on the realization that a robot’s vocabulary will be limited by its discriminatory capacity which, in turn, depends on its sensors and perceptual capabilities. The results indicate that the robot’s representations are capable of incrementally evolving by correcting class descriptions, based on instructor feedback to classification results. In successive experiments, it was possible for the robot to learn between 6 and 12 names of real-world office objects. Although these results are comparable to those obtained by other authors, there is a need to scale-up. The limitations of the method are discussed and potential directions for improvement are pointed out. (shrink)

Shepard's approach is regarded as an attempt to rescue, within an evolutionary perspective, an empiricist theory of mind. Contrary to this, I argue that the structure of perceptual representations is essentially co-determined by internal aspects and cannot be understood if we confine our attention to the physical side of perception, however appropriately we have chosen our vocabulary for describing the external world. Furthermore, I argue that Kubovy and Epstein's “more modest interpretation” of Shepard's ideas on motion perception is (...) based on unjustified assumptions. [Kubovy & Epstein; Shepard]. (shrink)

Subfocal Color Categorization and Naming: The Role of Exposure to Language and Professional Experience The current state of the debate on the linguistic factors in color perception and categorization is reviewed. Developmental and learning studies were hitherto almost ignored in this debate. A simple experiment is reported in which 20 Academy of Fine Arts, Faculty of Painting students' performance in color discrimination and naming tasks was compared to the performance of 20 Technical University students. Subfocal colors were used. While there (...) was no difference in overall discrimination ability, AFA students had a much richer and specialized color vocabulary. Both groups also applied different strategies of discrimination and naming. However, naming system in neither group was coherent. This suggests that naming played primarily the role of markers for control processes rather than names for categories. It is concluded that up-to-date debate is too simplified and a complex model of interrelations between perceptual categorization and naming framed in the developmental context is needed rather than the search for a simple answer "language", "environment", or "perceptual universals". (shrink)

How did first millennia Indian Buddhists understand the emotions? What are the theoretical resources, methodologies and vocabularies they used to account for emotive phenomena, and how do these relate, if at all, to contemporary philosophy of the emotions? This essay focuses, as a case study, on the notion of ascetic solitude (viveka) presented by the Buddhist thinker and poet Aśvaghoṣa’s (second century CE) in his poetical work the Saundarananda. Approaching Aśvaghoṣa’s work as a lens through which to examine the broader (...) Buddhist philosophical conception of the emotions, it is demonstrated that solitude, far from being conceived as a physical withdrawal from the world (into an interior subjective space), is seen as a mode of engagement with the world, a dynamic and transformative experiential process. This understanding, it is argued, is set within a broader Buddhist philosophical conception of emotions primarily in terms of a shifting evaluative perceptual content. Within the Saundarananda, emotions are akin to “ways of seeing”—a matter of perceptual modes and patterns of salience and what they experientially pick and leave out. Outlining some of the features of this theory that are distinctively Buddhist, this essay join the scholarly critique of the practice of applying readymade contemporary emotive categories to the study of Indian Buddhist texts, and advocate the need to account for these texts as much as possible in their own terms. (shrink)

Cognitive hearing science is mainly about the study of how cognitive factors contribute to speech comprehension, but cognitive factors also partake in speech processing to infer non-linguistic information from speech signals, such as the intentions of the talker and the speaker’s age. Here, we report two experiments on age estimation by “naïve” listeners. The aim was to study how speech rate influences estimation of speaker age by comparing the speakers’ natural speech rate with increased or decreased speech rate. In Experiment (...) 1, listeners were presented with audio samples of read speech from three different speaker age groups (young, middle aged, and old adults). They estimated the speakers as younger when speech rate was faster than normal and as older when speech rate was slower than normal. This speech rate effect was slightly greater in magnitude for older (60–65 years) speakers in comparison with younger (20–25 years) speakers, suggesting that speech rate may gain greater importance as a perceptual age cue with increased speaker age. This pattern was more pronounced in Experiment 2, in which listeners estimated age from spontaneous speech. Faster speech rate was associated with lower age estimates, but only for older and middle aged (40–45 years) speakers. Taken together, speakers of all age groups were estimated as older when speech rate decreased, except for the youngest speakers in Experiment 2. The absence of a linear speech rate effect in estimates of younger speakers, for spontaneous speech, implies that listeners use different age estimation strategies or cues (possibly vocabulary) depending on the age of the speaker and the spontaneity of the speech. Potential implications for forensic investigations and other applied domains are discussed. (shrink)

Orienting biases for speech may provide a foundation for language development. Although human infants show a bias for listening to speech from birth, the relation of a speech bias to later language development has not been established. Here, we examine whether infants' attention to speech directly predicts expressive vocabulary. Infants listened to speech or non-speech in a preferential listening procedure. Results show that infants' attention to speech at 12 months significantly predicted expressive vocabulary at 18 months, while indices (...) of general development did not. No predictive relationships were found for infants' attention to non-speech, or overall attention to sounds, suggesting that the relationship between speech and expressive vocabulary was not a function of infants' general attentiveness. Potentially ancient evolutionary perceptual capacities such as biases for conspecific vocalizations may provide a foundation for proficiency in formal systems such language, much like the approximate number sense may provide a foundation for formal mathematics. (shrink)

Following Aristotle, Averroes rejects atomism and the infinite division of geometric lines. Thus, his arguments dealt with the continuity and contiguity of the non-atomic parts of motion. He vindicates the perceptual aspect of physical movement that shows itself like in-progress-path between two edge points A and B, in which there are middle parts where qualitative, local, or quantitative changes occur. Ramon Llull took the lines’ geometrical points as “motion parts.” Points are intermediate divisions that represent physical phenomena by the (...) continuity of geometrical lines, surfaces, and figures. Also, he appeals to relational logic to spot the middle parts between A and B into the in-progress-path of motion. Those middle parts are signified by a dynamic vocabulary, called: correlative language. This contribution focuses on the conceptual environment of Llull’s assumptions, in which Averroes’ Latin readers explored the geometry and the vocabulary of motion intermediate parts. (shrink)

Whether it is a question of apprehension, grasp, or simple contact, the vocabulary of perception clearly points towards the materiality of touch through what we usually think of as just a metaphorical variation. This is what ancient Greek thought recognized, or dimly felt, as a sometimes hidden constant in its history and its project: sensation, which describes the primary access to being, is first of all and above all a way of touching. Far from indicating a simple perceptual (...) realism, this acknowledgement implies a specific idea about the presence of things in the world: touch assumes a surface, and every being, in order to appear and be seen, must therefore be entirely surface, be articulated within a boundary that describes it perfectly. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 312-314 [Access article in PDF] Shook, John R. Dewey's Empirical Theory of Knowledge and Reality.The Vanderbilt Library of American Philosophy. Nashville: Vanderbilt University Press, 2000. Pp. ix + 316. Cloth, $46.00; Paper, $22.95. The current renaissance of American pragmatism, and John Dewey's philosophy in particular, began two decades ago with Richard Rorty's refashioning of Dewey as a postmodernist who renounces the (...) "professional philosophy" of metaphysics and epistemology for the fluidity of conversation in the life and growth of a community. This depiction, though praised for rekindling Dewey's star, has been widely challenged by subsequent commentators. Ralph Sleeper's 1986 The Necessity of Pragmatism persuasively argues that Dewey reconfigures, rather than renounces, the logical and metaphysical grounds of knowledge. Despite an archaic Hegelian vocabulary that misleadingly suggests idealism and antirealism, Sleeper finds Dewey advancing a genuine metaphysics of existence, not merely a conversation about experience: a naturalistic realism of independent existences that enter into and are transformed by human interactions with them.This perspective is shared by most Dewey scholars, including Sandra Rosenthal, Raymond Boisvert, and J. E. Tiles. At least until now. In a profound and provocative exploration of his early philosophy, John R. Shook, presents a compelling case that Dewey's reconstruction of metaphysics and epistemology is deeper than even Sleeper imagined. Dewey did not merely abandon idealism under the influence of William James, as most assume; he transformed it in a original way that, while wholly naturalistic, [End Page 312] is a fusion of idealism and realism that overcomes both the former's "mind-stuff" and the latter's "in-itself reality."Dewey began his philosophical odyssey with the searing desire to eradicate the dualisms of mind versus world, phenomenal versus noumenal, perceptual versus conceptual. Post-Hegelian idealists agreed that this division is ultimately reconciled in the "absolute," though they disagreed about whether the absolute is psychological or cosmological, social or supernatural, knowable or unknowable. From the very beginning, Shook argues, Dewey accepted the psychological path as sketched by James Ward, and also Edward Caird's claim that the absolute must be knowable in some sense. Intriguingly, the missing link between perception and conceptual awareness is Wilhelm Wundt's notion of volition: percepts are neither mechanically attached to concepts nor are they overlaid by Kantian "faculties of mind." Instead, a disruption of perceptual or noncognitive experience generates a desire for reconciliation that calls forth ideas that diagnose the problem and suggest ways to resolve it. Achieved solutions, in turn, forge a background of habitual dispositions that shape interpretations within the noncognitive realm.While still an idealist, then, Shook finds the essential elements of the "method of inquiry" that later anchored Dewey's instrumentalism and pragmatism. Prior to 1890, however, he still construed this as individual "mental activity," and the problem of its relation to God's Absolute Mind remained. Upon relinquishing the supernatural for the social, however, this final obstacle was eliminated. The dispositional background extends beyond the individual to the customs, traditions, and values of a culture—indeed, even the barest notions of "self" and "reality" are inconceivable without reference to such a background. This is Dewey's broad conception of "experience"—a humanistic naturalism with no trace of mind-stuff or subjectivism. In this sense Dewey is a realist, though his affirmation of things-themselves (including things we have not or may never actually discover) avoids the things-in-themselves that is the bane of metaphysical realism. To claim that things exist without an experiential background of how we may find them to exist is at best empty verbiage, and at worst hypnosis by the dervishes of dualism.Scrupulous in research, penetrating in detail, Shook's presentation is so faithful to Dewey that it will undoubtedly draw many of the same criticisms once hurled at the master. Though careful readers will be able to identify "experience" in its broadly social and functional sense, others will be confused by applications as diverse as "mental activity," "soul," "reality," "the history of the... (shrink)

Frida Kahlo (1907–1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 operations throughout (...) her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary—usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified “The broken column” as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health. (shrink)

Thanks largely to Daniel Dennett, I am a recent convert to what many will regard as the shocking hypothesis that qualia do not exist. This admission is not quite a confident sighting of that rarest of philosophical birds, an unequivocally sound and valid argument. For one thing, I have, like many, been frustrated by and suspicious of philosophers' use of qualia for some time, and have often wished them dead ; so I was an easy mark. More to the point, (...) I was persuaded by Dennett without being persuaded by his arguments. This is not intended as a confession of a Kirkegaardian penchant for preferring to believe the conclusions of bad arguments. Dennett enabled me finally to kick qualia out of my private ontology by providing, in the later sections of his “Quining Qualia”, an alternative conceptual vocabulary for talking about the contents of perceptual and reflective experience that genuinely makes no appeal, surreptitious or otherwise, to qualia. Furthermore, Dennett's most general motivations for banishing qualia—the convictions that there is no compelling evidence for them, that they serve no reliable explanatory purpose and that the hypothesis of their non-existence dissolves some otherwise wrenching philosophical dilemmas—are the right ones, and his paper made this clear to me. However, I feel the need to quine qualia again for myself, because I want them to stay dead, and am afraid that, due to some infelicities in his argument, Dennett has only wounded them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of various authors (for example, Crowder, (...) 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)

Iconic signs are overrepresented in the vocabularies of young deaf children, but it is unclear why. It is possible that iconic signs are easier for children to learn, but it is also possible that adults use iconic signs in child-directed signing in ways that make them more learnable, either by using them more often than less iconic signs or by lengthening them. We analyzed videos of naturalistic play sessions between parents and deaf children aged 9–60 months. To determine whether iconic (...) signs are overrepresented during child-directed signing, we compared the iconicity of actual parent productions to the iconicity of simulated vocabularies designed to estimate chance levels of iconicity. For almost all dyads, parent sign types and tokens were not more iconic than the simulated vocabularies, suggesting that parents do not select more iconic signs during child-directed signing. To determine whether iconic signs are more likely to be lengthened, we ran a linear regression predicting sign duration, and found an interaction between age and iconicity: while parents of younger children produced non-iconic and iconic signs with similar durations, parents of older children produced non-iconic signs with shorter durations than iconic signs. Thus, parents sign more quickly with older children than younger children, and iconic signs appear to resist that reduction in sign length. It is possible that iconic signs are perceptually available longer, and their availability is a candidate hypothesis as to why iconic signs are overrepresented in children’s vocabularies. (shrink)

This chapter contains sections titled: What Is It To Be Fashionable? Appearing Fashionable Two Concepts of Fashion Fashion and Alienation The Metaphysics of Fashion.

The Vocabulary of Critical Thinkingtakes an innovative, practical, and accessible approach to teaching critical thinking and reasoning skills. With the underlying notion that a good way to practice fundamental reasoning skills is to learn to name them, the text explores one hundred and eight words that are important to know and employ within any discipline. These words are about comparing, generalizing, explaining, inferring, judging sources, evaluating, referring, assuming and creating - actions used to assess relationships and arguments - and (...) the words are grouped according to these and other concepts essential to critical thinking. Featuring five or more words and an introduction on how they are related, each chapter is organized into three parts. Part I includes definitions of the words, brief examples of their use, and matching exercises. To further contextualize the words, Part II, Understanding the Meaning, provides numerous real-world examples, with commentary, of the words in use. Finally, Part III, providing practice of the associated critical thinking skills. Questions also appear throughout the chapters to encourage reflection and to highlight important points. Thirty-five photographs and illustrations additionally enrich the text. The book is an ideal text for critical thinking and reasoning courses as well as a variety of courses that prepare students to succeed. (shrink)

Recent evidence from cognitive neuroscience suggests that certain cognitive processes employ perceptual representations. Inspired by this evidence, a few researchers have proposed that cognition is inherently perceptual. They have developed an innovative theoretical approach that rests on the notion of perceptual simulation and marshaled several general arguments supporting the centrality of perceptual representations to concepts. In this article, I identify a number of weaknesses in these arguments and defend a multiple semantic code approach that posits both (...) perceptual and non-perceptual representations. (shrink)

Pragmatist responses to skepticism about empirical justification have mostly been underwhelming, either presupposing implausible theses like relativism or anti-realism, or else showing our basic empirical beliefs to be merely psychologically inevitable rather than rationally warranted. In this paper I defend a better one: a modified version of an argument by Wilfrid Sellars that we are pragmatically warranted in accepting that our perceptual beliefs are likely to be true, since their likely truth is necessary for the satisfaction of our goal (...) of effective agency. On the version of the argument I defend, the great good for human life of control over our empirical circumstances renders our goal of effective agency reasonable. But only if our perceptual beliefs are likely to be true—and only if we accept that this is so, assuming it as a premise for inference and a guide for action—will the success of our actions be due to our effective agency, not mere luck. Since we’re warranted in taking the necessary means to our reasonable ends, we’re warranted in accepting that our perceptual beliefs are generally justified, and so that skepticism about empirical justification is false. (shrink)

Expertise is a cognitive achievement that clearly involves experience and learning, and often requires explicit, time-consuming training specific to the relevant domain. It is also intuitive that this kind of achievement is, in a rich sense, genuinely perceptual. Many experts—be they radiologists, bird watchers, or fingerprint examiners—are better perceivers in the domain(s) of their expertise. The goal of this paper is to motivate three related claims, by substantial appeal to recent empirical research on perceptual expertise: Perceptual expertise (...) is genuinely perceptual and genuinely cognitive, and this phenomenon reveals how we can become epistemically better perceivers. These claims are defended against sceptical opponents that deny significant top-down or cognitive effects on perception, and opponents who maintain that any such effects on perception are epistemically pernicious. (shrink)

It is widely assumed that sense perception cannot deliver knowledge of nonactual (metaphysical) possibilities. We are not supposed to be able to know that a proposition p is necessary or that p is possible (if p is false) by sense perception. This paper aims to establish that the role of sense perception is not so limited. It argues that we can know lots of modal facts by perception. While the most straightforward examples concern possibility and contingency, others concern necessity and (...) impossibility. The possibility of a perceptual route to some modal knowledge is not as radical as it may at first sound. On the contrary, acknowledging it has benefits. (shrink)

The two main theories of perceptual reasons in contemporary epistemology can be called Phenomenalism and Factualism. According to Phenomenalism, perceptual reasons are facts about experiences conceived of as phenomenal states, i.e., states individuated by phenomenal character, by what it’s like to be in them. According to Factualism, perceptual reasons are instead facts about the external objects perceived. The main problem with Factualism is that it struggles with bad cases: cases where perceived objects are not what they appear (...) or where there is no perceived object at all. The main problem with Phenomenalism is that it struggles with good cases: cases where everything is perfectly normal and the external object is correctly perceived, so that one’s perceptual beliefs are knowledge. In this paper we show that there is a theory of perceptual reasons that avoids the problems for Factualism and Phenomenalism. We call this view Propositionalism. We use ‘proposition’ broadly to mean the entities that are contents of beliefs and other doxastic attitudes. The key to finding a middle ground between Phenomenalism and Factualism, we claim, is to allow our reasons to be false in bad cases. Despite being false, they are about the external world, not our phenomenal states. (shrink)

Perceptual Confidence is the view that perceptual experiences assign degrees of confidence. After introducing, clarifying, and motivating Perceptual Confidence, I catalogue some of its more interesting consequences, such as the way it blurs the distinction between veridical and illusory experiences, a distinction that is sometimes said to carry a lot of metaphysical weight. I also explain how Perceptual Confidence fills a hole in our best scientific theories of perception and why it implies that experiences don't have (...) objective accuracy conditions. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I (...) offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

Perceptual experiences are not immediately responsive to reasons. You see a stick submerged in a glass of water as bent no matter how much you know about light refraction. Due to this isolation from reasons, perception is traditionally considered outside the scope of epistemic evaluability as justified or unjustified. Is perception really as independent from reasons as visual illusions make it out to be? I argue no, drawing on psychological evidence from perceptual learning. The flexibility of perceptual (...) learning is a way of responding to new epistemic reasons. The resulting perceptual experiences are epistemically evaluable as justified or unjustified. (shrink)

Perceptual experience supports the assignment of confidences in belief – doxastic confidences. To explain this fact, many philosophers appeal to Perceptual Indeterminacy, which holds that perceptual content can be more or less determinate. Others instead appeal to Perceptual Confidence, which says that perceptual experience supports doxastic confidences because it assigns confidences too. Morrison argues that a primary reason to favour Perceptual Confidence is that it is uniquely capable of accounting for bell-shaped doxastic confidence distributions; (...) we call this the bell curve objection to Perceptual Indeterminacy. Here we show that two recent defences of Perceptual Indeterminacy, due to Nanay and Raleigh and Vindrola, fail to adequately address the bell curve objection. But we also argue that all is not lost for proponents of Perceptual Indeterminacy. They can counter the bell curve objection by embracing a third view, which we call Perceptual Noise. (shrink)

Perceptual systems respond to proximal stimuli by forming mental representations of distal stimuli. A central goal for the philosophy of perception is to characterize the representations delivered by perceptual systems. It may be that all perceptual representations are in some way proprietarily perceptual and differ from the representational format of thought (Dretske 1981; Carey 2009; Burge 2010; Block ms.). Or it may instead be that perception and cognition always trade in the same code (Prinz 2002; Pylyshyn (...) 2003). This paper rejects both approaches in favor of perceptual pluralism, the thesis that perception delivers a multiplicity of representational formats, some proprietary and some shared with cognition. The argument for perceptual pluralism marshals a wide array of empirical evidence in favor of iconic (i.e., image-like, analog) representations in perception as well as discursive (i.e., language-like, digital) perceptual object representations. (shrink)