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  1. What Was Molyneux's Question A Question About?Jonathan Cohen & Mohan Matthen - forthcoming - In Routledge Handbook on Molyneux's Question. London: Routledge.
    Molyneux asked whether a newly sighted person could distinguish a sphere from a cube by sight alone, given that she was antecedently able to do so by touch. This, we contend, is a question about general ideas. To answer it, we must ask (a) whether spatial locations identified by touch can be identified also by sight, and (b) whether the integration of spatial locations into an idea of shape persists through changes of modality. Posed this way, Molyneux’s Question goes substantially (...)
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  2. Substituting the Senses.Julian Kiverstein, Mirko Farina & Andy Clark - forthcoming - In Mohan Matthen (ed.), The Oxford Handbook of the Philosophy of Perception. Oxford University Press.
    Sensory substitution devices are a type of sensory prosthesis that (typically) convert visual stimuli transduced by a camera into tactile or auditory stimulation. They are designed to be used by people with impaired vision so that they can recover some of the functions normally subserved by vision. In this chapter we will consider what philosophers might learn about the nature of the senses from the neuroscience of sensory substitution. We will show how sensory substitution devices work by exploiting the cross-modal (...)
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  3. An Empirical Solution to the Puzzle of Macbeth’s Dagger.Justin D’Ambrosio - 2022 - Erkenntnis 87 (3):1377-1414.
    In this paper I present an empirical solution to the puzzle of Macbeth's dagger. The puzzle of Macbeth's dagger is the question of whether, in having his fatal vision of a dagger, Macbeth sees a dagger. I answer this question by addressing a more general one: the question of whether perceptual verbs are intensional transitive verbs (ITVs). I present seven experiments, each of which tests a collection of perceptual verbs for one of the three features characteristic of ITVs. One of (...)
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  4. Against the Senses.Spyridon Kakos - 2022 - Harmonia Philosophica.
    The validity of the senses we use to experience the cosmos is something we take for granted. The majority of the people view the senses as the most effective and potentially the only tool they have to reach reality. But as Shestov rightfully questioned, when was the last time the majority decided correctly on an important philosophical problem? The role of science and philosophy is to question the obvious and this is what we should do if we are to uncover (...)
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  5. Paintings of Music.Michelle Liu - 2022 - Journal of Aesthetics and Art Criticism 80 (2):151-163.
    Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.
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  6. Perceptual Capacities, Discrimination, and the Senses.William Hornett - 2021 - Synthese 199 (5-6):14063-14085.
    In this paper, I defend a new theory of the nature and individuation of perceptual capacities. I argue that we need a theory of perceptual capacities to explain modal facts about what sorts of perceptual phenomenal states one can be in. I defend my view by arguing for three adequacy constraints on a theory of perceptual capacities: perceptual capacities must be individuated at least partly in terms of their place in a hierarchy of capacities, where these capacities include the senses (...)
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  7. The Role of Sensory Qualities in Renaissance Natural History: The Case of Mattioli’s Herbal.Lucie Strnadová - 2021 - Early Science and Medicine 25 (6):543-561.
    The aim of this paper is to show how sensory qualities were used to identify, observe, and describe plants in the sixteenth century. Mattioli’s herbal is an example of Renaissance natural history, which was based on Dioscorides’ classical text. Each step of constructing a chapter of the herbal required a different approach to sensory qualities. The identification of the plants described by Dioscorides called for detailed philological work and a good knowledge of the meaning of each term used for tastes, (...)
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  8. Multisensory Perception.Keith A. Wilson - 2021 - In Sabah Ülkesi. Cologne: IGMG. pp. 76-79.
    The idea that there are five senses dates back to Aristotle, who was one of the first philosophers to examine them systematically. Though it has become conventional wisdom, many scientists and philosophers would argue that this idea is outdated and inaccurate. Indeed, they have given many different answers to this question, ranging from just three (the number of different kinds of physical energy we can detect) to 33 or more senses. Perhaps surprisingly, the issue remains controversial, partly because it is (...)
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  9. The Sense of Time.Gerardo Viera - 2020 - British Journal for the Philosophy of Science 71 (2):443-469.
    It’s often claimed in the philosophical and scientific literature on temporal representation that there is no such thing as a genuine sensory system for time. In this paper, I argue for the opposite—many animals, including all mammals, possess a genuine sensory system for time based in the circadian system. In arguing for this conclusion, I develop a semantics and meta-semantics for explaining how the endogenous rhythms of the circadian system provide organisms with a direct information link to the temporal structure (...)
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  10. Is Bálint's Syndrome a Counterexample of the Kantian Spatiality Thesis?Tony Cheng - 2019 - In Tony Cheng, Ophelia Deroy & Charles Spence (eds.), Spatial Senses: Philosophy of Perception in an Age of Science. pp. 31-45.
  11. Binding and Differentiation in Multisensory Object Perception.E. J. Green - 2019 - Synthese 198 (5):4457-4491.
    Cognitive scientists have long known that the modalities interact during perceptual processing. Cross-modal illusions like the ventriloquism effect show that the course of processing in one modality can alter the course of processing in another. But how do the modalities interact in the specific domain of object perception? This paper distinguishes and analyzes two kinds of multisensory interaction in object perception. First, the modalities may bind features to a single object or event. Second, the modalities may cooperate when differentiating an (...)
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  12. Molyneux, Neuroplasticity, and Technologies of Sensory Substitution.Mark Paterson - 2019 - In Brian Glenney & J. F. Silva (eds.), The Senses and the History of Philosophy. New York: pp. 340-352.
  13. From Sensorimotor Dependencies to Perceptual Practices: Making Enactivism Social.Alejandro Arango - 2018 - Adaptive Behavior 27 (1):31-45.
    Proponents of enactivism should be interested in exploring what notion of action best captures the type of action-perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception, and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient because (...)
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  14. Sensing Art and Artifacts: Explorations in Sensory Museology.David Howes, Eric Clarke, Fiona Macpherson, Beverly Best & Rupert Cox - 2018 - The Senses and Society, 13 (3):317-334.
    This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the Hunterian Museum (...)
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  15. Sensory Substitution and Augmentation: An Introduction.Fiona Macpherson - 2018 - In Sensory Substitution and Augmentation.
    It is hoped that modern sensory substitution and augmentation devices will be able to replace or expand our senses. But to what extent has this been achieved to date? To what extent are the experiences created by sensory substitution devices like the sensory experiences that we are trying to replace? To what extent can we augment people’s senses providing them with new information and new experiences? The first aim of this introduction is to delve deeply into this question to discover (...)
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  16. Faszination - Schrecken. Zur Handlungsrelevanz ästhetischer Erfahrung anhand Anselm Kiefers Deutschlandbilder.Martina Sauer - 2018 - Heidelberg, Germany: arthistoricum.
    Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...)
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  17. Towards a Rich View of Auditory Experience.Elvira Di Bona - 2017 - Philosophical Studies 174 (11):2629-2643.
    In this paper I will argue that the gender properties expressed by human voices are part of auditory phenomenology. I will support this claim by investigating auditory adaptational effects on such properties and contrasting auditory experiences, before and after the adaptational effects take place. In light of this investigation, I will conclude that auditory experience is not limited to low-level properties. Perception appears to be much more informative about the auditory landscape than is commonly thought.
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  18. Transparency and Knowledge of One's Own Perceptions.Martin Francisco Fricke - 2017 - Contributions of the Austrian Ludwig Wittgenstein Society 25:65-67.
    So-called "transparency theories" of self-knowledge, inspired by a remark of Gareth Evans, claim that we can obtain knowledge of our own beliefs by directing out attention towards the world, rather than introspecting the contents of our own minds. Most recent transparency theories concentrate on the case of self-knowledge concerning belief and desires. But can a transparency account be generalised to knowledge of one's own perceptions? In a recent paper, Alex Byrne (2012) argues that we can know what we see by (...)
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  19. Beyond Vision: Philosophical Essays.Casey O'Callaghan - 2017 - Oxford University Press.
    Beyond Vision brings together eight essays by Casey O'Callaghan which draw theoretical and philosophical lessons about perception, the nature of its objects, and sensory awareness. O'Callaghan focuses on auditory perception, perception of spoken language, and multisensory perception.
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  20. Attention in Bodily Awareness.Gregor Hochstetter - 2016 - Synthese 193 (12):3819-3842.
    The aim of this paper is to develop and defend an Attentional View of bodily awareness, on which attention is necessary for bodily awareness. The original formulation of the Attentional View is due to Marcel Kinsbourne. First, I will show that the Attentional View of bodily awareness as formulated by Kinsbourne is superior to other accounts in the literature for characterizing the relationship between attention and bodily awareness. Kinsbourne’s account is the only account in the literature so far which can (...)
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  21. Conscious Action/Zombie Action.Joshua Shepherd - 2016 - Noûs 50 (2):419-444.
    I argue that the neural realizers of experiences of trying are not distinct from the neural realizers of actual trying . I then ask how experiences of trying might relate to the perceptual experiences one has while acting. First, I assess recent zombie action arguments regarding conscious visual experience, and I argue that contrary to what some have claimed, conscious visual experience plays a causal role for action control in some circumstances. Second, I propose a multimodal account of the experience (...)
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  22. Beyond Vision: The Vertical Integration of Sensory Substitution Devices.Ophelia Deroy & Malika Auvray - 2015 - In D. Stokes, M. Matthen & S. Biggs (eds.), Perception and Its Modalities. Oxford University Press.
    What if a blind person could 'see' with her ears? Thanks to Sensory Substitution Devices (SSDs), blind people now have access to out-of-reach objects, a privilege reserved so far for the sighted. In this paper, we show that the philosophical debates have fundamentally been mislead to think that SSDs should be fitted among the existing senses or that they constitute a new sense. Contrary to the existing assumption that they get integrated at the sensory level, we present a new thesis (...)
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  23. The Individuation of the Senses.Mohan Matthen - 2015 - In Oxford Handbook of the Philosophy of Perception. Oxford University Press. pp. 567-586.
    How many senses do humans possess? Five external senses, as most cultures have it—sight, hearing, touch, smell, and taste? Should proprioception, kinaesthesia, thirst, and pain be included, under the rubric bodily sense? What about the perception of time and the sense of number? Such questions reduce to two. 1. How do we distinguish a sense from other sorts of information-receiving faculties? 2. By what principle do we distinguish the senses? Aristotle discussed these questions in the De Anima. H. P. Grice (...)
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  24. Not All Perceptual Experience is Modality Specific.Casey O'Callaghan - 2015 - In Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.), Perception and Its Modalities. Oxford University Press. pp. 133-165.
    This paper presents forms of multimodal perceptual experience that undermine the claim that each aspect of perceptual experience is modality specific. In particular, it argues against the thesis that all phenomenal character is modality specific (even making an allowance for co-conscious unity). It concludes that a multimodal perceptual episode may have phenomenal features beyond those that are associated with the specific modalities.
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  25. The Multisensory Nature of Perceptual Consciousness.Tim Bayne - 2014 - In Christopher Hill & David Bennett (eds.), Sensory Integration and the Unity of Consciousness. Cambridge, MA: MIT Press. pp. 15-36.
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  26. Is Consciousnes Multisensory?Tim Bayne & Charles Spence - 2014 - In Dustin Stokes, Stephen Biggs & Mohan Matthen (eds.), Perception and Its Modalities. New York, USA: Oxford University Press. pp. 95-132.
    Is consciousness multisensory? Obviously it is multisensory in certain ways. Human beings typically possess the capacity to have experiences in at least the five familiar sensory modalities, and quite possibly in a number of other less commonly recognised modalities as well. But there are other respects in which it is far from obvious that consciousness is multisensory. This chapter is concerned with one such respect. Οur concern here is with whether consciousness contains experiences associated with distinct modalities at the same (...)
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  27. Making Sense of Multiple Senses.Kevin Connolly - 2014 - In Richard Brown (ed.), Consciousness Inside and Out: Phenomenology, Neuroscience, and the Nature of Experience. Springer.
    In the case of ventriloquism, seeing the movement of the ventriloquist dummy’s mouth changes your experience of the auditory location of the vocals. Some have argued that cases like ventriloquism provide evidence for the view that at least some of the content of perception is fundamentally multimodal. In the ventriloquism case, this would mean your experience has constitutively audio-visual content (not just a conjunction of an audio content and visual content). In this paper, I argue that cases like ventriloquism do (...)
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  28. Pain, Perception and the Sensory Modalities: Revisiting the Intensive Theory.Richard Gray - 2014 - Review of Philosophy and Psychology 5 (1):87-101.
    Pain is commonly explained in terms of the perceptual activity of a distinct sensory modality, the function of which is to enable us to perceive actual or potential damage to the body. However, the characterization of pain experience in terms of a distinct sensory modality with such content is problematic. I argue that pain is better explained as occupying a different role in relation to perception: to indicate when the stimuli that are sensed in perceiving anything by means of a (...)
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  29. The Space of Sensory Modalities.Fiona Macpherson - 2014 - In Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.), Perception and Its Modalities. Oxford University Press.
    Is there a space of the sensory modalities? Such a space would be one in which we can represent all the actual, and at least some of the possible, sensory modalities. The relative position of the senses in this space would indicate how similar and how different the senses were from each other. The construction of such a space might reveal unconsidered features of the actual and possible senses, help us to define what a sense is, and provide grounds that (...)
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  30. A Methodological Molyneux Question: Sensory Substitution, Plasticity and the Unification of Perceptual Theory.Mark Paterson & Mazviita Chirimuuta - 2014 - In Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.), Perception and its Modalities. Oxford: pp. 410-430.
  31. The Dominance of the Visual.Dustin Stokes & Stephen Biggs - 2014 - In D. Stokes, M. Matthen & S. Biggs (eds.), Perception and its Modalities. Oxford University Press.
    Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in other modalities. One might be (...)
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  32. Perception and Its Modalities.Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.) - 2014 - Oxford University Press.
    This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...)
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  33. Toward an Objective Phenomenological Vocabulary: How Seeing a Scarlet Red is Like Hearing a Trumpet’s Blare.Richard Kenneth Atkins - 2013 - Phenomenology and the Cognitive Sciences 12 (4):837-858.
    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 (...)
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  34. Is There a Space of Sensory Modalities?Richard Gray - 2013 - Erkenntnis 78 (6):1259-1273.
    Two proposals have recently, and independently, been made about a space of possible sensory modalities. In this paper I examine these different proposals, and offer one of my own. I suggest that there are several spaces associated with distinct kinds of sensory modality.
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  35. Strange Objects, Counterfeits and Reproduction: Clues for Analyzing Perceptual Experience in the Different Senses.Filip Mattens - 2013 - History of Philosophy & Logical Analysis 16.
  36. Sniffing and Smelling.Louise Richardson - 2013 - Philosophical Studies 162 (2):401-419.
    In this paper I argue that olfactory experience, like visual experience, is exteroceptive: it seems to one that odours, when one smells them, are external to the body, as it seems to one that objects are external to the body when one sees them. Where the sense of smell has been discussed by philosophers, it has often been supposed to be non-exteroceptive. The strangeness of this philosophical orthodoxy makes it natural to ask what would lead to its widespread acceptance. I (...)
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  37. Bodily Sensation and Tactile Perception.Louise Richardson - 2013 - Philosophy and Phenomenological Research 86 (1):134-154.
  38. Getting Emotional Over Contours: Response to Seeley.Christy Mag Uidhir - 2012 - Essays in Philosophy 13 (2):518-521.
    Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.
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  39. Perception and Multimodality.Casey O'Callaghan - 2012 - In Eric Margolis, Richard Samuels & Stephen Stich (eds.), The Oxford Handbook of Philosophy of Cognitive Science. Oxford University Press.
    Philosophers and cognitive scientists of perception by custom have investigated individual sense modalities in relative isolation from each other. However, perceiving is, in a number of respects, multimodal. The traditional sense modalities should not be treated as explanatorily independent. Attention to the multimodal aspects of perception challenges common assumptions about the content and phenomenology of perception, and about the individuation and psychological nature of sense modalities. Multimodal perception thus presents a valuable opportunity for a case study in mature interdisciplinary cognitive (...)
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  40. Is Trilled Smell Possible? How the Structure of Olfaction Determines the Phenomenology of Smell.Ed Cooke & Erik Myin - 2011 - Journal of Consciousness Studies 18 (11-12):59-95.
    Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the (...)
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  41. On the Nature of the Senses.Richard Gray - 2011 - In Fiona Macpherson (ed.), The Senses: Classical and Contemporary Readings. Oxford University Press.
    The failure to resolve satisfactorily epistemological issues surrounding the identification of different senses has led to questions being asked of the nature of the senses. This issue has been thrown into sharp focus by two starkly contrasting positions. The first is a realist position that draws on science and is based on the application of criteria. The second is an anti-realist position that adheres to commonsense conceptions and is partly motivated by the apparent failure of criterial approaches. In this paper (...)
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  42. XV—Cross‐Modal Experiences.Fiona Macpherson - 2011 - Proceedings of the Aristotelian Society 111 (3pt3):429-468.
    This paper provides a categorization of cross-modal experiences. There are myriad forms. Doing so allows us to think clearly about the nature of different cross-modal experiences and allows us to clearly formulate competing hypotheses about the kind of experiences involved in different cross-modal phenomena.
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  43. Individuating the Senses.Fiona Macpherson - 2011 - In The Senses: Classic and Contemporary Philosophical Perspectives. Oxford University Press.
    The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing , touching, tasting, and smelling. But what makes the senses different? How many senses are there? How many could there be? Wha t interaction takes place between the senses? This introduction is a guide to thinking about these questions.
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  44. The Senses: Classic and Contemporary Philosophical Perspectives.Fiona Macpherson (ed.) - 2011 - Oxford University Press USA.
    The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing, touching, tasting and smelling. But how many senses are there? How many could there be? What makes the senses different? What interaction takes place between the senses? This book is a guide to thinking about these questions. Together with an extensive introduction to the topic, the book contains the key classic papers on this subject together with nine newly commissioned essays.One reason (...)
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  45. Taxonomising the Senses.Fiona Macpherson - 2011 - Philosophical Studies 153 (1):123-142.
    I argue that we should reject the sparse view that there are or could be only a small number of rather distinct senses. When one appreciates this then one can see that there is no need to choose between the standard criteria that have been proposed as ways of individuating the senses—representation, phenomenal character, proximal stimulus and sense organ—or any other criteria that one may deem important. Rather, one can use these criteria in conjunction to form a fine-grained taxonomy of (...)
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  46. Wine Active Compounds 2008: Proceedings of the WAC2008 International Conference.David Chassange (ed.) - 2008 - Oenapluria Media.
  47. Martian Colours.Dimitria Electra Gatzia - 2008 - Philosophical Writings 37.
    Developmental synesthesia typically involves either the stimulation of one sensory modality which gives rise to an experience in a different modality (when a sound, for example, evokes a colour) or the stimulation of a single sensory modality giving rise to different qualitative aspects of experience (when the sight of a number, for example, evokes a colour). These occurrences seem to support Grice’s (1989) argument that sense modalities cannot be individuated without reference to the introspective-character of experience. This, however, threatens intentionalism (...)
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  48. Seeing What You Hear: Cross-Modal Illusions and Perception.Casey O'Callaghan - 2008 - Philosophical Issues 18 (1):316-338.
    Cross-modal perceptual illusions occur when a stimulus to one modality impacts perceptual experience associated with another modality. Unlike synaesthesia, cross-modal illusions are intelligible as results of perceptual strategies for dealing with sensory stimulation to multiple modalities, rather than as mere quirks. I argue that understanding cross-modal illusions reveals an important flaw in a widespread conception of the senses, and of their role in perceptual experience, according to which understanding perception and perceptual experience is a matter of assembling independently viable stories (...)
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  49. The Five Senses: A Philosophy of Mingled Bodies (I).Michel Serres - 2008 - Continuum.
  50. Pain Detection and the Privacy of Subjective Experience.Adam J. Kolber - 2007 - American Journal of Law & Medicine 33 (2&3):433-456.
    Pain is a fundamentally subjective experience. We have uniquely direct access to our own pain but can only make rough inferences about the pain of others. Nevertheless, such inferences are made all the time by doctors, insurers, judges, juries, and administrative agencies. Advances in brain imaging may someday improve our pain assessments by bolstering the claims of those genuinely experiencing pain while impugning the claims of those who are faking or exaggerating symptoms. These possibilities raise concerns about the privacy of (...)
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