Recently, various people have maintained that one must revise either the externalistically-based notion of singular thought or the naïve realism-inspired notion of relational particularity, as respectively applied to some thoughts and to some perceptual experiences. In order to do so, one must either provide a broader notion of singular thought or flank the notion of relational particularity with a broader notion of phenomenal particularity. I want to hold that there is no need of that revision. For the original notions can (...) still play the role for which they were invoked. This requires that (i) both the first and the second notion respectively involve a dependence on and a metaphysical relation to the intentional objects of certain mental states once we are ontologically committed to such objects; (ii) both that object-dependence and that metaphysical relation are interpreted in terms of a substantive individuation of the relevant mental state via the object it is about: that object constitutes the state. (shrink)

Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...) cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...) account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity -- its vehicle, what is seen in it, and its subject --, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to (...) be pictorially perceived, not even indirectly. So, even if a picture is three-layered, pictorial experience remains a twofold experience, as Wollheim claimed. Neither the proponents of threefoldness nor Wollheim himself, however, have convincingly explained how the experience really is a perceptual experience. My Wollheimian account thus aims to reconceive the pictorial experience in properly perceptual terms. (shrink)