I argue against the Primary Sound Account of Echoes (PSAE) – the view that an echo of a sound just is that sound. I then argue that if my case against PSAE is successful, distal theories of sound are false. The upshot of my arguments, if they succeed, is that distal theories are false. Towards the end, I show how some distal theories can be modified to avoid this conclusion and note some open questions to which the modified theories give (...) rise. (shrink)

The aim of this paper is to argue that the phenomenal similarity between perceiving and visualizing can be explained by the similarity between the structure of the content of these two different mental states. And this puts important constraints on how we should think about perceptual content and the content of mental imagery.

Through hearing we learn about source events: events in which objects move or interact so that they vibrate and produce sound waves, such as when they roll, collide, or scrape together. It is often claimed that we do not simply hear sounds and infer what event caused them, but hear source events themselves, through hearing sounds. Here I investigate how the idea that we hear source events should be understood, with a focus on how hearing an event relates to hearing (...) the objects involved in that event. I argue that whereas we see events such as rollings and collisions by seeing objects move through space, this cannot be how we hear them, and go on to examine two other possible models. On the first, we hear events but not their participant objects. On the second, to hear an event is to hear the appearance of an object to change. I argue that neither is satisfactory and endorse a third option: to hear a source event is to hear an object as extending through time. (shrink)

In this paper I argue that empty space can be heard. This position contrasts with the generally held view that the only things that can be heard are sounds, their properties, echoes, and perhaps sound sources. Specifically, I suggest that when sounds reverberate in enclosed environments we auditorily represent the volume of space surrounding us. Clearly, we can learn the approximate size of an enclosed space through hearing a sound reverberate within it, and so any account that denies that we (...) hear empty space must instead show how beliefs about volumes of space can be derived indirectly from what is heard. That is, if space is not auditorily represented when we hear sounds reverberate, what is? I consider whether hearing reverberation can be thought of as hearing a distinct sound, hearing echoes, or hearing a property of a sound. I argue that experiences of reverberation cannot be reduced to the perception of any of these types and that therefore empty space is represented in auditory perceptual content. In the final section I outline two ways in which space might be represented. (shrink)

In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal character that is determined (...) by the amount of attention that an underlying perceptual representation commands. I distinguish quantitative from qualitative character; even qualitative characters that represent degrees of sensible magnitudes are phenomenally and functionally distinct from quantitative characters. A bifurcated account of phenomenal character emerges; the phenomenal is not exhausted by the qualitative. (shrink)

Philosophers often state that the persistence of objects in vision is experienced differently than the persistence of sounds in audition. This difference is expressed by using metaphors from the metaphysical endurantism/perdurantism debate. For instance, it is claimed that only sounds are perceived as “temporally extended”. The paper investigates whether it is justified to characterize visually experienced objects and auditorily experienced sounds as different types of entities: endurants and perdurants respectively. This issue is analyzed from the perspective of major specifications of (...) the endurance/perdurance distinction connected, inter alia, with the notions of temporal parts and temporal localization. It is argued that it is unjustified to characterize visually experienced objects and auditorily experienced sounds as different types of entities in respect of how they persist. On the other hand, the apparent difference in the way of persisting can be explained by the presence of contingent differences between typical visual and auditory experiences. (shrink)

I argue that perceptual consciousness is constituted by a mental activity. The mental activity in question is the activity of employing perceptual capacities, such as discriminatory, selective capacities. This is a radical view, but I hope to make it plausible. In arguing for this mental activist view, I reject orthodox views on which perceptual consciousness is analyzed in terms of peculiar entities, such as, phenomenal properties, external mind-independent properties, propositions, sense-data, qualia, or intentional objects.

Color relationalism holds that the colors are constituted by relations to subjects. The introspective rejoinder against this view claims that it is opposed to our phenomenally-informed, pre-theoretic intuitions. The rejoinder seems to be correct about how colors appear when looking at how participants respond to an item about the metaphysical nature of color but not when looking at an item about the ascription of colors. The present article expands the properties investigated to sound and taste and inspects the mentioned asymmetry, (...) with a particular focus on the principle of charity. Using a metaphysical item, we find that color and sound are no different from shape, our control for a clearly anti-relational property. Taste, on the other hand, is no different from likability, our control for a clearly relational property. Importantly, we find that the disparity between metaphysical and ascription items is due to participants using a principle of charity to interpret disagreement cases such that both parties can be correct. (shrink)

I consider the role of psychology and other sciences in telling us about our senses, via the issue of whether empirical findings show us that flavours are perceived partly with the sense of smell. I argue that scientific findings do not establish that we're wrong to think that flavours are just tasted. Non-naturalism, according to which our everyday conception of the senses does not involve empirical commitments of a kind that could be corrected by empirical findings is, I suggest, a (...) plausible view that is not easy to dismiss. (shrink)

When objects are illuminated, the light they reflect does not simply bounce off their surface. Rather, that light is entirely reabsorbed and then reemitted, as the result of a complex microphysical event near the surface of the object. If we are to be physicalists regarding color, then we should analyze colors in terms of that event, just as we analyze heat in terms of molecular motion, and sound in terms of vibrations. On this account, colors are not standing properties of (...) objects, but events, or (more cautiously) properties associated with events. Accordingly, objects in the dark are no more colored than a turned-off stove is hot. Such an account requires rejecting some of what folk ordinarily say about color, but this is the most coherent version of color physicalism. (shrink)

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 (...) about vision, audition, olfaction, and the rest. (shrink)

Recent work on non-visual modalities aims to translate, extend, revise, or unify claims about perception beyond vision. This paper presents central lessons drawn from attention to hearing, sounds, and multimodality. It focuses on auditory awareness and its objects, and it advances more general lessons for perceptual theorizing that emerge from thinking about sounds and audition. The paper argues that sounds and audition no better support the privacy of perception’s objects than does vision; that perceptual objects are more diverse than an (...) exclusively visual perspective suggests; and that multimodality is rampant. In doing so, it presents an account according to which audition affords awareness as of not just sounds, but also environmental happenings beyond sounds. (shrink)

Despite its admirable bottom-up methodology, Roy Sorensen's Seeing Dark Things (OUP, 2008) raises difficult theoretical questions concerning the metaphysics and perception of absences. Metaphysical difficulties include how to individuate, count, locate, and classify absences, and what determines their features. Perceptual difficulties include how to distinguish experiences of absences and presences, especially when nonveridical, and what subjects contribute to perceptual experience according to Sorensen's causal theory. In addition to articulating these difficulties, this paper also presents and explores, on Sorensen's terms, an (...) alternative account of silence. (shrink)

Vision has been the primary focus of naturalistic philosophical research concerning perception and perceptual experience. Guided by visual experience and vision science, many philosophers have focused upon theoretical issues dealing with the perception of objects. Recently, however, hearing researchers have discussed auditory objects. I present the case for object perception in vision, and argue that an analog of object perception occurs in auditory perception. I propose a notion of an auditory object that is stronger than just that of an intentional (...) object of audition, but that does not identify auditory objects with the ordinary material objects we see. (shrink)

Frequently, we learn of the locations of things and events in our environment by means of hearing. Hearing, I argue, is a locational mode of perceiving with a robustly spatial phenomenology. I defend three proposals. First, audition furnishes one with information about the locations of things and happenings in one’s environment because auditory experience itself has spatial content—auditory experience involves awareness of space. Second, we hear the locations of things and events by or in hearing the locations of their sounds. (...) Third, we auditorily experience sounds themselves as having relatively stable distal locations. I reject skepticism about spatial audition and auditory experience tracing to Strawson’s Individuals , and suggest that spatial auditory experience grounds a form of perceptual access to objects and events that is critical to negotiating one’s environment. (shrink)

This paper proposes some guidelines for the undeveloped discussion of auditory epistemology. Auditory epistemology is an approach concerned with the perceptual basis for knowledge and belief, specifically around audition. The article pursues two goals. Firstly, it claims that addressing auditory perception from the viewpoint of epistemology is more fruitful than the discussion on phenomenology which has thus far dominated the debates in the literature on sound. Secondly, it elaborates a concrete proposal pertaining to the cooperation of sense-modalities. In so doing, (...) a model for “Perceptual Coherence” is suggested. The first section of the paper critically reviews the problem of perception as it is usually understood in traditional epistemology. An ensuing section outlines the model of perceptual coherence. (shrink)

A widespread view among philosophers and scientists is that recorded sounds and assisted hearing differ fundamentally from natural sounds and direct hearing. It is commonly claimed, for example, that the sounds we hear over the phone are not sounds emitted by the voice of our interlocutor, but the sounds reproduced by the phone’s loudspeaker. According to this view, hearing distant sounds through communication and audio equipment is at best indirect and at worst illusory. In what follows, I shall reject these (...) claims and argue in favor of a transparent view of auditory media, including radio, telephone, phonograph, etc. According to this approach, the great gift of Scott de Martinville and Edison is not to have invented devices able to reproduce vanished sounds but rather to have created technological instruments literally able to store and transmit them to future and distant listeners. (shrink)

Most philosophers consider olfactory experiences to be very poor in comparison to other sense modalities. And because olfactory experiences seem to lack the spatial content necessary to object perception, philosophers tend to maintain that smell is purely sensational or abstract. I argue in this paper that the apparent poverty and spatial indeterminateness of odor experiences does not reflect the “subjective” or “abstract” nature of smell, but only that smell is not directed to particular things. According to the view defended in (...) this paper, odors are properties of stuffs. This view, motivated by several arguments grounded in the phenomenology of olfactory experience, explains in particular why odors appear to be located both in the air around our nose and in the objects from which they emanate. It also explains the power of smell in the task of discriminating chemical compounds. (shrink)

According to an ordinary view, we distinguish, classify, and appreciate food and beverages according to their taste. However, scientists seem to disagree with this naive view. They maintain that we don't really perceive the lemony taste of a cake or the delicate smoky taste of a single-malt whiskey, because what we ascribe to taste is in reality mostly perceived by smell. As opposed to this scientific consensus regarding taste, I will defend a naive view of taste and deny that olfaction (...) is involved in what we naively call taste. Like the uninformed layman, I will maintain that when I eat a strawberry, what I really perceive is its taste, not its smell or flavor. (shrink)

A proof employing no semantic terms is offered in support of the claim that there can be truths without truthmakers. The logical resources used in the proof are weak but do include the structural rule Contraction.

According to Paul Snowdon, one directly perceives an object x iff one is in a position to make a true demonstrative judgement of the form “That is x”. Whenever one perceives an object x indirectly (or dependently , as Snowdon puts it) it is the case that there exists an item y (which is not identical to x) such that one can count as demonstrating x only if one acknowledges that y bears a certain relation to x. In this paper (...) I argue that what we hear directly are sounds, and that material objects (such as violins and goldfinches) are only indirectly heard. However, there are cases of auditory object perception that should count as direct : Some blind persons’ ears are so sensitive to the way sound waves are modified by things in their surroundings that they can detect objects such as other persons, fences or trees. Interestingly, objects localized in this way make themselves felt via a kind of pressure in the perceiver’s face (that is why the phenomenon is commonly called “facial vision”), the perception is phenomenally quite different from hearing. Since, to some degree, most people are able to conclude from the way it sounds that, say, they stand at the foot of a concrete wall (when there is enough traffic noise around), we can imagine situations where two persons perceive the same wall, one indirectly (demonstratively apprehending sounds) and the other directly (demonstratively apprehending nothing but the wall). These cases invite us to discuss the role phenomenology plays in determining whether an object is perceived directly or indirectly. (shrink)

Two questions are addressed in this paper. First, what is it to see? I argue that it is veridical experience of things outside the perceiver brought about by looking. Second, what is it to see a material object? I argue that it is experience of an occupant of a spatial region that is a logical subject for other visual features, able to move to another spatial region, to change intrinsically, and to interact with other material objects. I show how this (...) theory is different from the idea that object-seeing is merely the visual segregation of a region of the visual field. Finally, I argue that we do not object-see objects reflected in mirrors, surfaces of back-lit objects, and depictions of objects. (shrink)

It is widely accepted that knowledge of certain of one’s own mental states is authoritative in being epistemically more secure than knowledge of the mental states of others, and theories of self-knowledge have largely appealed to one or the other of two sources to explain this special epistemic status. The first, ‘detectivist’, position, appeals to an inner perception-like basis, whereas the second, ‘constitutivist’, one, appeals to the view that the special security awarded to certain self-knowledge is a conceptual matter. I (...) argue that there is a fundamental class of cases of authoritative self-knowledge, ones in which subjects are consciously thinking about their current, conscious intentional states, that is best accounted for in terms of a theory that is, broadly speaking, introspectionist and detectivist. The position developed has an intuitive plausibility that has inspired many who work in the Cartesian tradition, and the potential to yield a single treatment of the basis of authoritative self-knowledge for both intentional states and sensation states. (shrink)

What does vision represent? What does hearing represent? Smell? Touch? Competing answers to each of these questions have been defended. The present paper argues that the issue of what taste represents is categorically more complicated. In particular, it raises two very difficult dilemmas.

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

In this paper, we argue that, in order to account for the apparently substantive nature of definitional disputes, a commitment to what we call ‘Socratic essentialism’ is needed. We defend Socratic essentialism against a prominent neo-Carnapian challenge according to which apparently substantive definitional disputes always in some way trace back to disagreements over how expressions belonging to a particular language or concepts belonging to a certain conceptual scheme are properly used. Socratic essentialism, we argue, is not threatened by the possibility (...) that some apparently substantive definitional disputes may turn out to be verbal or conceptual, since this pluralist strategy, in our view, requires a commitment to more, rather than fewer, essences. What is more, a deflationary, metaphysically ‘light-weight’ construal of the essence-ascriptions in question leads to a peculiar conception of the pursuit of metaphysicians as behaving like deceptive (or self-deceived) grammarians pretending to be scientists. Moreover, this deflationary attitude, we argue, spreads beyond metaphysics and philosophy more broadly to apparently substantive definitional disputes in the sciences as well as other in other disciplines, such as art criticism. (shrink)

Theorists have recently defended rival analyses of sound. The leading analyses reduce sound to sensations or mental representations, longitudinal compression waves, or sounding objects or events. Participants in the debate presuppose that because the features of the world targeted by these reductive strategies are distinct, at most one of the analyses is correct. In this article I argue that this presupposition is mistaken, endorsing a polysemy analysis of ‘sound’. Thus the ‘What is sound?’ debate is largely merely verbal, or so (...) I argue. All participants in this debate agree that there are the various reductions, they simply differ over which of them ‘is sound’. Yet there is no reason to think that, say, psychologists studying auditory sensations/representations, audio physicists studying sound waves, and anthropologists/ethnomusicologists studying sounding objects/events aren’t just studying different reductions of ‘sound’ despite the different explananda of their research. According to the polysemy theory of sound, we do not need to uniquely identify sound with one of these various explananda, outside of some context. (shrink)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

The experience of musical surprise is explained by psychologists in terms of the thwarting of prior musical expectations. The assumption that surprise is always caused by expectations is widespread not just in psychology at large, but also in philosophy. I argue here that this assumption is ill-founded. Many musical surprises, as well as many non-musical instances of perceptual surprise, can be explained by the falsification of assessments of the present, rendering the appeal to expectations unnecessary. I elaborate the positive view (...) before considering objections, and offering replies. (shrink)

In arbitrating between representational and relational theories of perception, perceptual illusions—cases in which a subject’s perceptual experience diverges from the way the world really is—constitute an important battleground. The debate has, however, been dominated by discussions of visual perception. In attempting to extend the debate to audition, it is appropriate to start by considering what is thought to be a key case of auditory illusion. I consider the phenomenon of the ‘missing fundamental’, as well as examining a notion that is (...) often deployed by representationalists to explain it—namely, perceptual inference. Though it is frequently deployed as an explanatory concept by inferentialists, the notion of perceptual inference is somewhat opaque. Here, I formulate a ‘job description’ for perceptual inference, involving rule-following. I then identify two sets of cases that commonly prompt the invocation of perceptual inference: namely, cases of perceptual illusion, and cases of veridical perception where the perceptual content outstrips the information present in the stimulus. I then argue that an appeal to perceptual inference is unnecessary, in the case of the missing fundamental, for two reasons. Firstly, the missing fundamental is not, after all, a clear candidate for the ascription of inferential capacity to the auditory system: it is neither an illusion, nor is it the case that the stimulus is crucially impoverished. That is, it submits to a ‘direct’ explanation. Secondly, given the adequacy of a simpler explanation, and the difficulty between distinguishing between real rule-following and the mere appearance of it, I argue that we should avoid ascribing inferential capacity to the auditory system. I close by considering objections, and offering replies. (shrink)

In this paper I consider two related issues raised by Aristotle 's treatment of hearing and sounds. The first concerns the kinds of changes Aristotle takes to occur, in both perceptual medium and sense organs, when a perceiver hears a sounding object. The second issue concerns Aristotle 's views on the nature and location of the proper objects of auditory perception. I argue that Aristotle 's views on these topics are not what they have sometimes been taken to be, and (...) that when rightly understood they compare favourably in many respects with leading contemporary accounts. (shrink)

Timbre is that property of a sound that distinguishes it other than pitch and loudness, for instance the distinctive sound quality of a violin or flute. While the term is obscure, the concept has played an important, implicit role in recent philosophy of sound. Philosophers have debated whether to identify sounds with properties of waves, events, or objects. Many of the intuitive considerations in this debate apply most clearly to timbre qualities. Two prominent forms of timbre physicalism have emerged: one (...) identifying timbre with the spectral composition of proximal waves; the second identifying timbre with the mechanical vibrations at a sound source. I demonstrate that the first possibility is conceptually unsatisfying, while the second fails to meet the standards of rigor established by the color physicalism literature. One response to these worries might be to adopt a more modest, non-reductive realism about timbre, such as the ecological view of J. J. Gibson. (shrink)

This article uses Alphonso Lingis’s essay The Murmur of the World as a catalyst for a phenomenological inquiry into the experience of making room for an articulate world; a world that speaks. A great deal has been written about vision as our primary source of insight and understanding. Visual perception dwarfs the other modalities by which we know the world. In The Murmur of the World, Lingis calls us into the realm of background noise where things hum with activity, but (...) are rarely noticed. I propose that the soundscape can be lifted out and re-animated, and so, too, our world, with deeper awareness and innovative listening. Drawing on the work of Jane Bennett and Theodor Adorno, I suggest a creative, pedagogical practice may bring forth for us the community of vital, expressive presences in which we are immersed. (shrink)

The present paper offers an analogical support for the use of rational intuition, namely, if we regard sense perception as a mental faculty that (in general) delivers justified beliefs, then we should treat intuition in the same manner. I will argue that both the cognitive marks of intuition and the role it traditionally plays in epistemology are strongly analogous to that of perception, and barring specific arguments to the contrary, we should treat rational intuition as a source of prima facie (...) justified beliefs. There are two main arguments against the intuition-perception analogy that I will consider and find lacking. First is that while we do use perceptions as evidence to believe certain propositions, in fact no one ever does use intuition evidentially. The second argument, stemming from experimental philosophy, grants that philosophers do use intuitions evidentially, but this practice is fatally unlike that of perception, in that perception yields warranted beliefs and intuition does not. (shrink)

Haptic touch is an inherently active and exploratory form of perception, involving both coordinated movements and an array of distinct sensory receptors in the skin. For this reason, some have claimed that haptic touch is not a single sense, but rather a multisensory collection of distinct sensory systems. Though this claim is often made, it relies on what I regard as a confused conception of multisensory interaction. In its place, I develop a nuanced hierarchy of multisensory involvement. According to this (...) hierarchy, touch turns out to be a single modality in that its various receptors assign their features to the same tangible objects. When we grasp an object a range of distinct properties?shape, warmth, heft, texture, etc.?are all felt to belong to the object, just as different visual properties are associated with a visual object. Paradigm multisensory experiences, on the other hand, involve associations between distinct perceptual experiences, as when the way something looks affects the way something sounds. Thus despite its functional and physiological diversity, haptic touch can be regarded as a single sense. (shrink)

I argue for sensory pluralism. This is the view that there are many forms of sensory interaction and unity, and no single category that classifies them all. In other words, sensory interactions do not form a single natural kind. This view suggests that how we classify sensory systems (and the experiences they generate) partly depends on our explanatory purposes. I begin with a detailed discussion of the issue as it arises for our understanding of thermal perception, followed by a general (...) account and defense of sensory pluralism. (shrink)

I argue that chimericity is a property that we typically experience when listening to multi-instrumental music. It is the property of hearing as a unified whole a melody or a harmony that does not belong to any single sound source but instead consists of the assembling of melodic or harmonic fragments coming from different sources. Chimericity is not reducible to the low-level audible properties of pitch and loudness; it is cognized at the perceptual level thanks to the auditory mechanism of (...) primitive grouping. My aim is to show that chimericity is a perceptual property, one that we can genuinely hear. In developing this view, I engage with the debate within the philosophy of sense perception between rich vs thin views of the content of perceptual experience. (shrink)

Editorial: Objects and Sound Perception Content Type Journal Article Pages 5-17 DOI 10.1007/s13164-009-0006-3 Authors Nicolas J. Bullot, École des Hautes Études en Sciences Sociales Centre de Recherches sur les Arts et le Langage (CRAL/CNRS) 96 Bd Raspail 75006 Paris France Paul Égré, Institut Jean-Nicod (ENS/EHESS/CNRS) Département d’Etudes Cognitives de l’ENS 29 rue d’Ulm 75005 Paris France Journal Review of Philosophy and Psychology Online ISSN 1878-5166 Print ISSN 1878-5158 Journal Volume Volume 1 Journal Issue Volume 1, Number 1.

Robin Le Poidevin (2007) claims that we do form perceptual beliefs regarding order and duration based on our perception of events, but neither order nor duration are by themselves objects of perception. Temporal properties are discernible only when one first perceives their bearers, and temporal relations are discernible only when one first perceives their relata. The epistemic issue remains as to whether or not our perceptual beliefs about order and duration are formed on the causal basis of an event’s objective (...) order and duration. Le Poidevin raises this issue in the form of an epistemological puzzle of time perception, from which he derives the claim that the order and duration of events do not causally contribute to our perceptual beliefs about them. Since his view is motivated by a causal truthmaker principle for grounding knowledge, it also holds that perceptual beliefs about temporal features must be caused by the features themselves in order to count as knowledge. Given these theoretical commitments, there is a puzzle concerning how such perceptual beliefs could constitute knowledge of temporal properties. In response to Le Poidevin, I argue for an account according to which order and duration are objects of perception, causally contribute to our perceptual beliefs about them, and such beliefs are capable of counting as knowledge. I conclude by showing that, on my alternative account, the epistemological puzzle dissolves and his own solution to it fails. (shrink)

Much of the philosophical work on perception has focused on vision. Recently, however, philosophers have begun to correct this ‘tunnel vision’ by considering other modalities. Nevertheless, relatively little has been written about the chemical senses—olfaction and gustation. The focus of this paper is olfaction. In this paper, I consider the question: does human olfactory experience represents objects as thus and so? If we take visual experience as the paradigm of how experience can achieve object representation, we might think that the (...) answer to this question is no. I argue that olfactory experience does indeed represent objects—just not in a way that is easily read from the dominant visual case. (shrink)

Much of the philosophical work on perception has focused on vision. Recently, however, philosophers have been turning their attention to the ‘other modalities’. In a pair of entries, I consider olfaction—a sense modality that, along with gustation, has been largely overlooked by philosophers. In this first entry, I consider the challenge that olfactory experience presents to upholding a representational view of the sense modalities. It is common for philosophers to think that visual experience is world‐directed and, in particular, that it (...) is representational. World‐directed views contrast with subjectivist views—views according to which experiences are raw feels or mere sensations. Unlike visual experience, olfactory experience doesn't obviously support a representational view. Indeed, given its phenomenology, a subjectivist view of olfactory experience might seem unavoidable. But it is not. Once we begin to unravel ourselves from the dominant visual model of perception, we see that there is a representational view available that honors the phenomenology of olfactory experience. In turn, we learn that although there are some basic similarities between visual experience and olfactory experience, there are significant differences that prevent us from making easy generalizations from the visual case. (shrink)

Seattle rain smelled different from New Orleans rain…. New Orleans rain smelled of sulfur and hibiscus, trumpet metal, thunder, and sweat. Seattle rain, the widespread rain of the Great Northwest, smelled of green ice and sumi ink, of geology and silence and minnow breath.— Tom Robbins, Jitterbug PerfumeMuch of the philosophical literature on perception has focused on vision. This is not surprising, given that vision holds for us a certain prestige. Our visual experience is incredibly rich, offering up a mosaic (...) of apparent three-dimensional objects. For this reason, it is commonplace to suppose that visual experience is world-directed, with the view taking its most popular form in the representational, or content, view. World-directed views contrast with what we might call subjectivist views — views according to which experiences are raw feels or mere sensations. (shrink)

Starting with Gareth Evans, there’s an important tradition of theorizing about perception-based demonstrative thought which assigns necessary epistemic conditions to it. Its core idea is that demonstrative reference in thought is grounded in information links, understood as links which carry reliable information about their targets and which a subject exploits for demonstrative reference by tokening the mental files fed by these links. Perception, on these views, is not fundamental to perception-based demonstrative thought but is only the information link exploited in (...) these cases. Evans himself assigns a further epistemic condition, while more recently Imogen Dickie has expanded the reliability requirement into a more complex account centered around justification. In this paper I synthesize three central proponents of this approach and show that the epistemic conditions they place on perception-based demonstrative thought are not actually required. My argument gives two examples in which there is perceptual contact with an object but this perceptual contact fails to do the epistemic work in question. The first case is stimulus-incorporating dream experiences, the second involves multimodal binding failures. I argue that this perceptual contact still affords demonstrative thought in these cases. (shrink)

Much of the philosophical work on perception has focused on vision. Recently, however, philosophers have begun to correct this ‘tunnel vision’ by considering other modalities. Nevertheless, relatively little has been written about the chemical senses—olfaction and gustation. The focus of this paper is olfaction. In light of new physiological and psychophysical research on olfaction, I consider whether olfactory experience is object-based. In particular, I explore the claim that “odor objects” constitute sensory individuals. It isn’t obvious—at least at the outset—whether they (...) meet the widely accepted principles of object individuation and recognition at work in the visual and auditory cases. Among the general issues I consider, then, is whether these traditional principles form necessary, or simply sufficient, conditions on object perception. As we see, at the very least, considering the object-recognition model of olfaction challenges us to look more closely at well-entrenched models of object perception. But the payoff of doing so is high. We not only learn something about a modality that philosophers have historically neglected; by asking new questions and challenging old assumptions, we also further our understanding of perception in general. (shrink)

This dissertation aims to revive wave theory in the philosophy of sound. Wave theory identifies sounds with compression waves. Despite its wide acceptance in the scientific community as the default position, many philosophers have rejected wave theory and opted for different versions of distal theory instead. According to this current majority view, a sound has its stationary location at its source. I argue against this and other alternative philosophical theories of sound and develop wave theory into a more defensible form. (...) Philosophers of sound tend to emphasise how sounds are experienced to be in their arguments. Most often, it is assumed that that which appears to be a distally located bearer of auditory properties in an auditory experience is a sound. Chapter 1 argues that if this distal entity is the sound source instead, many of the existing theories of sound will be severely affected. Chapter 2 discusses auditory perception and criticises the common assumption that we hear non-sound entities in virtue of hearing sounds. I show that this assumption begs the question against certain theories of sound and that the contrary view that sound sources can be directly heard is more plausible. If sound sources can be directly heard, then features commonly attributed to sounds based on auditory experiences might rather be features of sound sources. I examine eight of such features in Chapter 3. Only four of them survive. Chapters 4 and 5 review the existing theories of sound. After a taxonomy of existing theories of sound, each theory is criticised one-by-one. Some of them are problematic precisely because they rely on the implausible assumption that that which appears to be distally located in an auditory experience is a sound rather than a sound source. Lastly, Chapter 6 focuses on wave theory. It begins with two positive arguments for wave theory in general, followed by my replies to two common objections in the literature. I then move on to develop my version of wave theory. There are two core aspects of my view. The first one is a metaphysics of compression waves; the second is an account of what it is to hear compression waves. After comparing my view with a similar theory, I demonstrate the explanatory power of my view in two steps. First, the eight commonly accepted features of sounds examined in Chapter 3 are revisited. It turns out that my view can accommodate all of them. Second, explanations for four special sound-related phenomena are offered at the end of the chapter. I conclude in the last chapter with the suggestion that, as a philosopher, the best way to defend wave theory is to offer a better understanding of auditory perception which explains how compression waves are experienced. (shrink)

As noted by philosopher Robert Pasnau, “Our standard view of sound is incoherent” at best (Pasnau, 1999, p 309). A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights several inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and the listener (the ‘longitudinal compression waves in the (...) air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps entirely devoid of spatial characteristics (aspatial theory). Beyond these topographic ruminations on the location of sounds, more profound disagreements arise around what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc., with many subtle ontological variations springing up along the way. -/- The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds to the phenomenon of echoes, with some theories arguably faring better than others. The focus here will be on Casey O’Callaghan’s formulation of sounds as disturbance events that bind primary sounds and their echoes together as one (O’Callaghan, 2007a, pp 126-127). In short, the claim is that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s ‘Against the Primary Sound Account of Echoes,’ the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears considerably upon the workability of distal theories of sound in general (Fowler, 2013, p 466). -/- In this paper, I expand upon Fowler’s work by demonstrating additional instances where the PSAE fails to hold when subjected to increased scrutiny across a broader range of echo scenarios, presenting a significant issue for proponents of distal theories of sound. (shrink)

Vision has dominated philosophical thinking about perceptual experience and the nature of its objects. Color has long been the focus of debates about the metaphysics of sensible qualities, and philosophers have struggled to articulate the conditions on the visual experience of mind-independent objects. With few notable exceptions, "visuocentrism" has shaped our understanding of the nature and functions of perception, and of our conception of its objects. The predominant line of thought from the early modern era to the present is that, (...) in the philosophically interesting respects, as things are with vision, so they are with hearing, touch, olfaction, and the rest. A closely related line of thought has been particularly strong in the case of the secondary qualities. (shrink)