This chapter contains sections titled: Resemblance Modularity Conclusion.

Raftopoulos’s most recent book argues, among other things, for the cognitive impenetrability of early vision. Before we can assess any such claims, we need to know what’s meant by “early vision” and by “cognitive penetration”. In this contribution to this book symposium, I explore several different things that one might mean – indeed, that Raftopoulos might mean – by these terms. I argue that whatever criterion we choose for delineating early vision, we need a single criterion, not a mishmash (...) of distinct criteria. And I argue against defining cognitive penetration in partly epistemological terms, although it is fine to offer epistemological considerations in defending some definitions as capturing something of independent interest. Finally, I raise some questions about how we are to understand the “directness” of certain putative cognitive influences on perception and about whether there’s a decent rationale for restricting directness in the way that Raftopoulos apparently does. (shrink)

In recent papers [1997, in press] I have explored how two seemingly conflicting paradigms inform the conception and study of picture perception. The dominant paradigm, one especially favored by vision theorists, claims that seeing a pictorial representation of an object is, with qualifications, like seeing the object itself. The picture, being a geometrically sanctioned projection of its object, resembles it, or otherwise serves as a mimetic surrogate, “re-presenting” what it depicts [Danto, 1982]. Accordingly, pictorial representation is at (...) its best when, as in trompe l’oeil paintings, viewers can not tell the picture, the stand in or substitute, from the real thing. An alternative paradigm, the symbolic model, championed most forcefully by Nelson Goodman [1968], focuses attention on syntactic and semantic features of pictures. On this account, pictures are importantly allied with other forms of representation, including languages, maps, and music notation, and picture perception is to be understood in this context. (shrink)

In recent papers [1997, in press] I have explored how two seemingly conflicting paradigms inform the conception and study of picture perception. The dominant paradigm, one especially favored by vision theorists, claims that seeing a pictorial representation of an object is, with qualifications, like seeing the object itself. The picture, being a geometrically sanctioned projection of its object, resembles it, or otherwise serves as a mimetic surrogate, “re-presenting” what it depicts [Danto, 1982]. Accordingly, pictorial representation is at (...) its best when, as in trompe l’oeil paintings, viewers can not tell the picture, the stand in or substitute, from the real thing. An alternative paradigm, the symbolic model, championed most forcefully by Nelson Goodman [1968], focuses attention on syntactic and semantic features of pictures. On this account, pictures are importantly allied with other forms of representation, including languages, maps, and music notation, and picture perception is to be understood in this context. (shrink)

In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though, I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I (...) submit that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. In this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account (a) the constructive and plastic moment, (b) the social dimension and (c) the genetic dimension of what it means to see something in something (Wollheim). (shrink)

Pylyshyn argues that early vision is cognitively impenetrable, and therefore – contrary to knowledge-based theories of perception – that perception is noncontinuous with cognition. Those processes that are included in “early vision,” however, represent at best only one component of perception, and it is important that it is not the component with which most knowledge-based theories are concerned. Pylyshyn's analysis should be taken as a possible source of refinement of knowledge-based theories of perception, rather than as a condemnation (...) of them. (shrink)

The present essay aims at integrating different concepts of meaning developed in semiotics, biology, and cognitive science, in a way that permits the formulation of issues involving evolution and development. The concept of sign in semiotics, just like the notion of representation in cognitive science, have either been used too broadly, or outright rejected. My earlier work on the notions of iconicity and pictoriality has forced me to spell out the taken-forgranted meaning of the sign concept, both in the Saussurean (...) and the Peircean tradition. My work with the evolution and development of semiotic resources such as language, gesture, and pictures has proved the need of having recourse to a more specified concept of sign. To define the sign, I take as point of departure the notion of semiotic function (by Piaget), and the notion of appresentation (by Husserl). In the first part of this essay, I compare cognitive science and semiotics, in particular as far as the parallel concepts of representation and sign are concerned. The second part is concerned with what is probably the most important attempt to integrate cognitive science and semiotics that has been presented so far, The Symbolic Species, by Terrence Deacon. I criticize Deacon’s use of notions such as iconicity, indexicality, and symbolicity. I choose to separate the sign concept from the notions of iconicity, indexicality, and symbolicity, which only in combination with the sign give rise to icons, indices, and symbols, but which, beyond that, have other, more elemental, uses in the world of perception. In the third part, I discuss some ideas about meaning in biosemiotics, which I show not to involve signs in the sense characterised earlier in the essay. Instead, they use meaning in the general sense of selection and organisation, which is a more elementary sense of meaning. Although I admit that there is a possible interpretation of Peirce, which could be taken to correspond to Uexküll’s idea of functional circle, and to meaning as function described by Emmeche and Hoffmeyer, I claim thatthis is a different sense of meaning than the one embodied in the sign concept. Finally, I suggest that more thresholds of meaning than proposed, for instanceby Kull, are necessary to accommodate the differences between meaning (in the broad sense) and sign (as specified in the Piaget–Husserl tradition). (shrink)

Everyday life suggests that picture seeing is sometimes infused by an emotional charge. However, nobody has addressed the importance of explaining this emotional charge in picture perception. Even our best model of picture perception, the dorsal/ventral account of picture perception, which integrates the most important empirical results coming from our best model on vision in neuroscience, the two visual systems model, lacks a reference to this emotional charge. The aim of the present paper is to offer (...) an account of picture perception that is able to regain and explain this neglected emotional charge. My claim is that, as for face-to-face perception, during picture perception, we are not only in a visual perceptual state, but also in an emotional state, which is directly connected to our visual perceptual state. I also show that it is possible to offer this integration while remaining in the philosophical/empirical framework of the dorsal/ventral account of picture perception, whose explanatory power is confirmed and improved. (shrink)

In this work I reject the contention that there is a perceptual stage which is devoid of contributions from the agent's cognitive framework. This contention is expressed in two different noncognitive views of perception. The traditional sensory core view which has prevailed since the seventeenth century; it claims that there is a stage of pure sensory core which precedes the interpretive percepts . The recent ecological approach whose main representative is J. J. Gibson; it claims that not only (...) a certain perceptual stage, but the whole perceptual process, is devoid of cognitive contributions. Before I deal with these views, I discuss the basic features of cognition in general. ;Cognition is concerned with the establishment of relations and order; it is a purposive placing of a cognized object into a meaningful order. Cognition begins with modifying a given order for the purpose of making it fit into a given meaningful framework. Throughout the work I show that, contrary to the aforementioned noncognitive views, perception fulfills this depiction of cognition. ;In the discussion of the sensory core view, I illustrate its main assumptions in various philosophical writings, and then indicate main reasons for its appearance in the seventeenth century. These reasons stem from the intermediate role sensation was supposed to have in the mental-physical gap. Sensations were considered to be primitive mental entities with physical causes; their physical origin prevents them from containing complex mental features such as the cognitive ones, and, thus, they are regarded as pure. This stage of pure sensation was postulated primarily out of theoretical considerations. Those did not coincide with the empirical and phenomenological description of that stage; hence, the empirical characterization and the phenomenological status of that stage were constantly modified. The various suggestions for describing that stage are examined and criticized from both empirical and theoretical respects. The empirical evidence presented indicates that there is no qualitative difference between perceiving what is regarded as pure sensations and what is regarded as inferential perceptions. The theoretical criticism points out that the assumption regarding pure sensation is not necessary for an adequate explanation of perception; and, since it has no empirical grounds, it is superfluous. ;After rejecting the sensory core view, I examine the ecological approach. This view rejects the traditional sensation-perception distinction and contends that we do not have to assume the existence of cognitive activities that interpret meaningless sensations into meaningful perceptions, since the perceiver directly encounters meaningful features. I claim that this solution is similar to Kant's approach, and, therefore, it has to pay a price which is similar to that which Kant pays, viz. the relational nature of the perceptual environment. The neglect of this feature results in unsolvable difficulties in central notions of the ecological approach. ;I conclude the work by suggesting a crude outline for approaching perception; in many respects it is close to Aristotle's view. I contend that causal explanations of the physiological processes cannot wholly explain perceiving; these processes are necessary supportive bases for perceiving and not the causes which precede and produce it. Accordingly, we should not assume the existence of separate percepts in the agent's head. The cognitive system is an integral part of the perceptual system; hence, perception may be conceived of as direct understanding. (shrink)

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

We question the usefulness of Pylyshyn's dichotomy between cognitively penetrable and cognitively impenetrable mechanisms as the basis for his distinction between cognition and early vision. This dichotomy is comparable to others that have been proposed in psychology prompting disputes that by their very nature could not be resolved. This fate is inevitable for Pylyshyn's thesis because of its reliance on internal representations and their interpretation. What is more fruitful in relation to this issue is not a difficult (...) dichotomy, but a different look at perception such as proposed by Gibson (1979). (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. (...) Read as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

"Heidegger's way of understanding the originary phenomenon of truth is to "make clear the mode of being of the cognition itself." His starting point is a proposition that is not based on intuition. Someone says with his or her back to the wall: this picture hangs askew. The proposition embodies the claim to have discovered the picture (as a being) in the "how" (the mode) of its being. The proposition displays this "how" of being in language. In the (...) attempt to verify the proposition by sensuous experience, the recognition, according to Heidegger, is directed only to the intended being (the picture) and not to the proposition. It is directed to the being itself (which is to be verified by perception) in its mode of uncoveredness (Entdeckt-heir), i.e., in its showing-itself. Confirmation (Bewährung) means this showing-itself of the being in the same way in which it is intended in the proposition. A true proposition shows the being in its mode of uncoveredness. The phenomenon of "originary truth" does not have the character of correspondence. It is the ground of the concept of truth in the sense of correspondence and propositional truth. By unfolding the meaning of alétheia Heidegger shows us a more originary sense of truth as unconcealment (Unverborgenheit). He wants to show that this concept coincides with the first and originary concept of truth in Greek thinking. In this primary sense only the discovering human Dasein can be "true" while it is Being-discovering (Entdeckend-Sein). On the other hand, beings (Seiendes) that we can find in the world can only "be" in a secondary mode, i.e., as being-discovered (Entdecktsein). They can only make a claim to uncoveredness. Their fundament is the Being-discovering of the human Dasein. The being-true of a discovered being is only possible as being discovered by human Dasein as being-in-the-world. The authentic Being of Dasein, the being-in-the truth, presupposes disclosedness (Erschlossenheit) of the world in states-of-mind (Befindlichkeiten), understanding, and discourse, i.e., the constitution of the being (Seinsverfassung) of human Dasein as thrownness (Geworfenheit) and project (Entwurf).. (shrink)

In Spinoza’s metaphysics, we encounter many puzzling doctrines that appear to entangle metaphysical notions with cognitive, logical, and epistemic ones. According to him, a substance is that which can be conceived through itself and a mode is that which is conceived through another. Thus, metaphysical notions, substance and mode, are defined through a notion that is either cognitive or logical, being conceived through. He defines an attribute as that which an intellect perceives as constituting the essence of a substance. Intellectual (...) perception, something cognitive, is used to define an attribute, something metaphysical. And he claims that if something exists there is a reason why it exists and if something doesn’t exist there is also a reason why it doesn’t. Thus, a reason, something cognitive or epistemic, is necessary for existence or nonexistence. What are we to make of the intimate connections that Spinoza sees between metaphysical, cognitive, logical, and epistemic notions? Between being and reason? In this book, I argue for what might be called a realist interpretation: although Spinoza is confident that the order of being mirrors the order of reason, he believes that they are two orders, not one. There is inherence over and above conceptual dependence; there is causation in addition to causal explanation; the world has a nature that we can grasp and that our way of grasping it does not interpose an impenetrable conceptual veil between it and us. (shrink)

This note is concerned with Ned Block's claim that cognition differs from perception in being paradigmatically conceptual, propositional, and non-iconic. As against Block, it maintains that large stretches of cognition constitutively involve, or depend on, iconic representations.

This dissertation works out a new approach to understanding what makes a representation pictorial and what makes a representation imagistic. Over the last thirty years, the most common approach to these problems has been to claim that what makes a representation pictorial is that normal perceivers can perceive it in certain ways. By contrast, my approach singles out structural features of representational systems as that which distinguishes pictures from other kinds of representations. Pictorial systems are those that are transparent, relatively (...) syntactically sensitive, relatively replete, and semantically rich. All pictures are images, but the converse relation does not hold because images need not be transparent, though they satisfy the weaker condition of being mimetic. This approach is similar to, but enjoys advantages over, Nelson Goodman's work on the topic. ;The account of what makes a representation pictorial or imagistic is then brought to bear on the imagery debate, which concerns whether the brain implements imagistic systems of representation, specifically in the early stages of perception. A review of what we know about the workings of the visual and auditory systems reveals that no representations in the brain are pictorial, though some are imagistic in quite limited respects. Though they fail to be imagistic in many interesting respects, the early stages of the visual and auditory systems are highly isomorphic to what they represent. ;The role of isomorphism in perceptual states has been much discussed in both philosophy and cognitive neuroscience. The last two chapters of the dissertation argue that perceptual representations of traditionally secondary qualities like colors and sounds are isomorphic to those properties to a lesser degree than representations of traditionally primary qualities like shapes. This distinction in how such properties are represented can affect out intuitions concerning the nature of those properties and the nature of perceptual experience. Furthermore, it is argued that isomorphism is an important feature of perceptual representations because of the role it plays in making information cognitively available. This role for isomorphism is maintained even if one is an information theorist, and therefore thinks that lawful causal generalizations fix the content of representations. (shrink)

The focus of this paper is on E. H. Gombrich's claim that pictorial perception is a case of illusion. My aim is to point out that, on the one hand, the interpretation of this claim that is widely accepted in pictorial theory is not supported by Gombrich's analysis of pictorial perception; and, on the other hand, that the interpretation of the claim that I see as more compatible with Gombrich's analysis is not consistent with relevant facts about our relation to (...) pictures. However, I will argue, Gombrich's elaboration of the claim of illusion is significant to the extent that it highlights important aspects of the system of pictorial representation. (shrink)

One sceptical rejoinder to those who claim that sensory perception is cognitively penetrable is to appeal to the involvement of attention. So, while a phenomenon might initially look like one where, say, a perceiver’s beliefs are influencing her visual experience, another interpretation is that because the perceiver believes and desires as she does, she consequently shifts her spatial attention so as to change what she senses visually. But, the sceptic will urge, this is an entirely familiar phenomenon, and it (...) hardly involves some special or theoretically important cognitive effect on sensory perception. Even supposing that the sceptic is correct about cases that are accurately described in this way, the rejoinder oversimplifies the possible roles that attention may play in mediating cognition and perception. This paper aims to identify these different roles, and by emphasis on empirical research on feature-based and object-based attention. What emerges is a plausible and well- evidenced mental schema that describes attention -mediated cognitive penetration. At the very least, the burden of proof is shifted to the sceptic, as he then must show that there are no mental phenomena involving attention in the more nuanced ways described here. One additional benefit of this analysis is that it illuminates various features of attention and its relation to both cognition and phenomenal consciousness. Therefore the analysis should be of interest to a broad range of theorists of the mind, and not just those invested in the cognitive penetration debate. (shrink)

Recent works in philosophy of mind and the cognitive sciences draw an “unconventional” picture of cognitive processes and of the mind. Instead of conceiving of cognition as a process that takes place within the boundaries of the skull and the skin, some contemporary theories claim that cognition is a situated process that encompasses the human agent’s boundaries. In particular, the Extended Mind Hypothesis (EMH) and the Enactive approach to cognition claim that embodied action is constitutive of cognitive processes, and (...) thus of the mind. Although both theories give an “extended” or “extensive” picture of cognition and of the mind, they disagree on the epistemic value of internal representations. The EMH claims that we need to posit internal action- oriented representations (AORs). AORs would account for action-selection, action-control, and for the prediction of incoming perceptual information. The enactive approach to cognition argues against AORs. The concept of AOR does not fulfill the representational conditions necessary to talk about representations properly. Furthermore, AORs are expressive of an internalistic prejudice, which makes the EMH weak. Moreover, a semiotic analysis of AORs shows that these items called “representations” are not active at all. Therefore, the epistemic posit of AOR plays no interesting job in the project of extending the mind in virtue of a reassessment of the concept of representation aimed at making it embodied and active. Therefore I claim that the concept of AOR has to be rejected. Action- control, action-selection, and the anticipation of aspects of action-perception loops can be explained in a more enactive way. Embodied action in a field of affordances explains how agents respond selectively to environmental features and how action-perception loops are anticipated by the “affective agent”. Furthermore, the enactive approach to cognition - especially if coupled with a semiotic description of cognitive niches and with some insights from the affective sciences (e.g. appraisal of core relational themes) - gives an explanation of action that, in contrast to the EMH, is actually able to “extend the mind”. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

In order to secure the limits of the critical use of reason, and to succeed in the critique of speculative metaphysics, Immanuel Kant (1724–1804) had to present a full account of human cognitive experience. Perception in Kant’s Model of Experience is a detailed investigation of this aspect of Kant’s grand enterprise with a special focus: perception. The overarching goal is to understand this common phenomenon both in itself and as the key to understanding Kant’s views of experience. In the process, (...) the author argues against any such reading of Kant that puts too much emphasis on concepts and understanding in perception. This means that claims of the sort that intuitions cannot play their role without concepts, that sensibility cannot bring anything to cognition without being mediated through the functions of understanding, or that there is no such thing as concept-independent perception, are shown to be either plainly false or misleading at best. Together with the contemporary topics examined by the end of the book, the findings suggest how the role of conceptual thinking in human cognition has been exaggerated partly because of a misplaced interpretation of Kant, which not only makes perception far more intellectual in character than what was intended by Kant himself, but distorts Kant’s account of cognition by overlooking what there is at the heart of his critical philosophy: the revaluation of sensible cognition. (shrink)

The paper focuses on a discussion about McDowell’s "conceptualist" interpretation of Kant’s theory of experience, as one in which all representational content is identified with conceptual content. Both in Mind and WorldM and in his Woodbridge Lectures, McDowell furthers a reading on which the "picture of visual experiences as conceptual shapings of visual consciousness is already deeply Kantian", supporting it with Kant’s famous claim from the A51/ B75 passage of the Critique of Pure Reason, which can be called a (...) Cooperation Thesis. However, much indicates that McDowell’s reading is, if not altogether false, then at least one-sided. In the "Transcendental Aesthetic", as well as in some of the pre-Critical writings , Kant presented a range of arguments for a subjective, non-discursive character of space and time, i.e. the forms of sensible intuition and pure intuitions themselves, underlying all conceptual cognition, and providing a non-conceptual basis for a special kind of synthetic a priori cognition . This allows us to conclude that he would rather take the side of the contemporary “nonconceptualists”, and could be regarded as their predecessor, to use R. Hanna’s formulation. On this reading of the Kantian theory of empirical cognition, intentionality is independent of and prior to any application of concepts to the objects of experience. (shrink)

Psychological studies (Proffitt, 2006) have demonstrated that what one sees is influenced by one's goals, physiological state, and emotions. These studies demonstrate that there is a positive correlation between the physical demands (energetic cost) and perceived valence (emotional cost) of a task and the appearance of slant and egocentric distance in the environment. The studies are compelling. However, one can question whether their results are due to changes in the way participants perceived the orientation and extent of their environment or (...) are instead artifacts of the way they judged the difficulty of expected tasks in particular contexts. We asked participants to sketch the rough spatial layout of several paintings as accurately as possible. In this type of task participants continuously compare what they have drawn against what they perceive. Therefore, participants performance can be interpreted as a means to directly measure of the spatial metric of perception. We chose two paintings by Andrew Wyeth as target images: “Christina's World” and “Winter, 1946.” Participants were asked to draw the spatial arrangement of the key features of the scene depicted in the target painting twice: prior to being presented with biographical information about the subject of the painting condition; and then again after being told the biographical information that altered the perceived task demands or emotional valence of the events they depicted. We predicted that participants' drawings would differ in the two conditions indicating that: change in the energetic or emotional costs of the depicted action would cause them to perceive the depicted orientation of hills as steeper and distance between key landmarks as longer. Results from the energetic cost condition support this prediction. We will discuss our results and the suggestion that these types of effects reflect a role for motor simulation in perception (Witt, 2005). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition: An Introduction to Hegel's Phenomenology of SpiritJohn RussonTom Rockmore. Cognition: An Introduction to Hegel's Phenomenology of Spirit. Berkeley: University of California Press, 1997. Pp vii + 247. Cloth, $40.00.Rockmore's book is an argument that Hegel's Phenomenology of Spirit is a rigorous and systematic argument about epistemology (2) and it is a commentary designed to introduce students to the details of Hegel's text (1). The epistemological thesis is (...) stated most concisely in Chapter 9. Chapters 1 through 8 comment on the Phenomenology at something close to a paragraph-by-paragraph level, (in the form of Findlay's appendix to the Miller translation of the Phenomenology).Rockmore's thesis is that Hegel's epistemology is an "anti-foundationalism without [End Page 131] scepticism" (215), or a "tertiary empiricism," (197): following Kant, Hegel holds that all knowledge begins with, but does not arise from, experience, but, against Kant, Hegel maintains that knowledge does not relate to anything beyond experience, but is itself the ultimate or absolute object (3). The "Consciousness" section of the Phenomenology establishes this basic position in three stages: "Sense-Certainty" refutes sense-data empiricism; "Perception" shows that knowing what an object is requires the mind's mediation; "Understanding" shows that no successful theory of the unity of the cognitive object can be accomplished in an epistemology that maintains the independence of the object of cognition, (a "thing-in-itself"), and that epistemology must thus shift its focus from object to subject. The "Self-Consciousness" chapter demonstrates that the subject of knowledge must be self-conscious and free, and therefore social and historical. Hegel's great contribution to epistemology is thus to replace the "minimalist" subject of Early Modern epistemology with the "thick" subjectivity of "social human being" (4, 201, 208). The analysis of this "thick" subject is carried out through the "Reason" chapter, (which shows that abstract reason cannot account for the whole of the human subject), and especially the "Spirit" chapter, (though this latter is "perhaps also the most defective part of the Phenomenology" [204]). The "Religion" chapter shows human religious history to be faulty epistemology, that is, an attempt to know that fails because of religion's non-conceptual formulation of its own significance. "Absolute Knowing" rectifies this problem by putting religion's (Christianity's) own ultimate truth—that God is Spirit—into conceptual form in the recognition that human social experience is the absolute. While Rockmore's overall thesis is reasonable, there is much to argue with in the specifics.Kant's philosophy is indisputably a central concern in the Phenomenology, but Rockmore sees Kant in every central move of the book. In his treatment of the "Introduction" and "Consciousness" this is more misleading than helpful (37-8). In discussing the "Introduction," Rockmore helpfully shows that consciousness is a self-comparison, but is weak in discussing the "in-itself." The discussion of "Consciousness" is likewise weak in its treatment of textual specifics, but does assert a reasonable interpretation of this section as a refutation of immediate knowledge that demonstrates the problems of reconciling unity and diversity in objects of experience, and the need for a science of subjectivity.Rockmore portrays the "Independence and Dependence of Self-Consciousness" as establishing that freedom is to be found in equal recognition, a social situation that is not yet established (70-2). "The Freedom of Self-Consciousness" shows the inadequacy of abstract, individualistic conceptions of freedom (76, 202). Here again, Rockmore's claims are more overlain on the text than derived from it. The treatment of the "Freedom of Self-Consciousness" is disappointing in failing to recognize a systematic character to Hegel's study. Indeed, while claiming to defend Hegel against charges of non-rigorous, non-systematic idiosyncracy (195), Rockmore is surprisingly inattentive to the systematic shape of Hegel's argument.In discussing "Reason," Rockmore again treats Kant as Hegel's major antagonist. His introduction to the "Reason" chapter is helpful, but his treatment of "Observing Reason" suffers from lack of attention to Schelling's philosophy of nature, and lack of historical precision in the discussion of Early Modern science and philosophy. The [End Page 132] discussions of the later... (shrink)

In this paper, I claim that since there is a cognitively impenetrable stage of visual perception, namely early vision, and cognitive penetrability and theory-ladenness are coextensive, the CI of early vision entails that early vision content is theory neutral. This theory-neutral part undermines relativism. In this paper, I consider two objections against the thesis. The one adduces evidence from cases of rapid perceptual learning to undermine my thesis that early vision is CI. The other emphasizes that the early (...) perceptual system, in order to solve various underdetermination problems, relies on certain principles, which may be taken to constitute a sort of a theory about the world that affect early vision, rendering it theory-laden. Both objections purport to show that early vision is CP and theory-laden. Against this thesis, I argue that the evidence on which the two objections are based does not show that early vision is CP and is fully compatible with the view that early vision is CI. (shrink)

Alva Noë’s strategy to solve the puzzle of perceptual presence entirely relies on the principle of presence as access. Unaccessed or unattended parts or details of objects are perceptually present insofar as they are accessible, and they are accessible insofar as one possesses sensorimotor skills that can secure their access. In this paper, I consider several arguments that can be opposed to this claim and that are chiefly related to the modal status of action, i.e. the fact that the action (...) that would secure access to the absent aspects is a possibility, something that can be done. The main difficulty Noë’s account must face is –as several situations demonstrate– that the action that should be performed for the absent aspects to be actually accessed does not have to be itself available for these aspects to be perceptually present. What matters for the absent aspects to be present is not their de facto accessibility, but their de jure accessibility. To overcome those difficulties, I propose to rely on a ternary model of the role of action possibilities in perceptual awareness. This model builds on Husserl’s analysis of the role of perceptual circumstances in perception and connection between sense registering and horizontal intentionality. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

In this paper, I show how Thomas Aquinas's account of sensory cognition is undergirded by a strong commitment to direct realism. According to the specific form of direct realism I articulate and defend here, which I claim emerges from a proper study of Aquinas's account of sensory cognition, it is only by having sense experiences that possess definitive content--content that is isomorphic or formally identical with the sensible features of mind-independent reality--that we can be credited with occupying world-intending sensory states, (...) in which we see, hear, taste, touch, and smell objective aspects or features of the world itself. Thus, it is by virtue of possessing the requisite content that the veridical sensations or perceptions we enjoy and possess bear directly on the world, and thereby unite us to the world. In defending this claim, I exposit what I take to be the most important features of Aquinas's account of sensory cognition: most notably, the operation of the external senses, and secondarily, the role of the common sense and phantasms. Interpreting Aquinas in the right light allows us better to understand and appreciate his account of sensory cognition as well as the nature and benefits of direct realism itself. (shrink)

Spinoza speculated on how ethics could emerge from biology and psychology rather than disrupt them and recent evidence suggests he might have gotten it right. His radical deconstruction and reconstruction of ethics is supported by a number of avenues of research in the cognitive and neurosciences. This paper gathers together and presents a composite picture of recent research that supports Spinoza’s theory of the emotions and of the natural origins of ethics. It enumerates twelve naturalist claims of Spinoza (...) that now seem to be supported by substantial evidence from the neurosciences and recent cognitive science. I focus on the evidence provided by Lakoff and Johnson in their summary of recent cognitive science in Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (1999); by Antonio Damasio in his assessment of the state of affective neuroscience in Descartes’ Error (1994) and in The Feeling of What Happens (1999) (with passing references to his recent Looking for Spinoza (2003); and by Giacomo Rizzolatti, Vittorio Gallese and their colleagues in the neural basis of emotional contagion and resonance, i.e., the neural basis of primitive sociality and intersubjectivity, that bear out Spinoza’s account of social psychology as rooted in the mechanism he called attention to and identified as affective imitation. (shrink)

In a recent article, [Sergent, C. & Dehaene, S. . Is consciousness a gradual phenomenon? Evidence for an all-or-none bifurcation during the attentional blink, Psychological Science, 15, 720–729] claim to give experimental support to the thesis that there is a clear transition between conscious and unconscious perception. This idea is opposed to theoretical arguments that we should think of conscious perception as a continuum of clarity, with e.g., fringe conscious states [Mangan, B. . Sensation’s ghost—the non-sensory “fringe” of consciousness, Psyche, (...) 7, 18]. In the experimental study described in this article, we find support for this opposite notion that we should have a parsimonious account of conscious perception. Our reported finding relates to the hypothesis that there is more than one perceptual threshold [Merikle, P.M., Smilek, D. & Eastwood, J.D. . Perception without awareness: perspectives from cognitive psychology, Cognition, 79, 115–134], but goes further to argue that there are different “levels” of conscious perception. (shrink)

A fundamental claim associated with parallel distributed processing theories of cognition is that knowledge is coded in a distributed manner in mind and brain. This approach rejects the claim that knowledge is coded in a localist fashion, with words, objects, and simple concepts, that is, coded with their own dedicated representations. One of the putative advantages of this approach is that the theories are biologically plausible. Indeed, advocates of the PDP approach often highlight the close parallels between distributed representations learned (...) in connectionist models and neural coding in brain and often dismiss localist theories as biologically implausible. The author reviews a range a data that strongly challenge this claim and shows that localist models provide a better account of single-cell recording studies. The author also contrast local and alternative distributed coding schemes and argues that common rejection of grandmother cell theories in neuroscience is due to a misunderstanding about how localist models behave. The author concludes that the localist representations embedded in theories of perception and cognition are consistent with neuroscience; biology only calls into question the distributed representations often learned in PDP models. (shrink)

In this paper, I will suggest that the ideas of Uddyotakara, the 6th century author of the Nyāya-Vārttika, may have been largely overlooked as a result of Jitendra Nath Mohanty’s and Bimal Krishna Matilal’s influential works on Indian epistemology. Crucial to Mohanty’s and Matilal’s portrayals of Indian epistemology is the thesis that the pramāṇa theory incorporates a sort of causal theory of knowledge. The writers of pramāṇa-śastra, they argue, agreed that at the end of the day, knowledge comes down to (...) an ‘inner’ occurrence, a temporally individuated cognitive episode, and that consequently—the pramāṇa—the most relevant factor affecting knowledge acquisition and the ultimate justification of knowledge acquisition—are “the cluster of phenomena that converge to bring such a cognitive episode about”. I will argue, on the other hand, based on a discussion Uddyotakara conducts at the beginning of the introductory chapter of his work, which I believe to be of crucial importance, that causal factors play only a marginal role in his theory of knowledge and that he claims the pramāṇa to be dependent on samartha-pravṛtti—the habitual, customary and expected procedures or ways of attaining a goal—rather than on their causal antecedents. I will moreover suggest a reading of the pramāṇa of sense-perception, inference and analogy as action-based. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Values of Beauty: Historical Essays in AestheticsDabney TownsendValues of Beauty: Historical Essays in Aesthetics, by Paul Guyer; 359 pp. Cambridge: Cambridge University Press, 2005, $75.00, $27.99 paper.This volume collects thirteen essays that range over topics from the eighteenth century to the twentieth century. The earliest was published in 1986, the last in 2004, and three appear here for the first time. They are grouped topically by period—"I. Mostly (...) before Kant; II. Mostly Kant; III. Mostly After Kant"—rather than chronologically. While this order is useful, it introduces some dislocation if one approaches the book as a whole since the last essay in the book is the first chronologically, and part of the interest of the book lies in the changes in Paul Guyer's positions over time that are reflected in his careful reconsideration of topics that he has dealt with more extensively in his volumes on Kant's [End Page 422] philosophy. As one of the most important contemporary interpreters of Kant's aesthetics, those reconsiderations are well worth attending to.The focus of all of the essays is clearly on Kant's aesthetics. That perspective is clear even when Guyer is discussing the history of aesthetics prior to Kant. As he notes, "this history of the first decades of modern aesthetics has obviously been written with an eye to Kant" ("Origins of Modern Aesthetics: 1711–1735," pp. 32–33). It continues in the discussions of recent aesthetics. For example, Guyer concludes that "the effect that is intended on the revised Beardsleyan definition [of art] is in the tradition of the Kantian concept of the free play of imagination and understanding" ("From Jupiter's Eagle to Warhol's Boxes," p. 313). Danto and Mothersill are also, it is argued, in the Kantian tradition.There are, of course, some problems with this perspective, especially with regard to the pre-Kantian history of aesthetics. For example, Guyer finds Kant's distinction between pure beauty and apprehended beauty reflected in an earlier distinction between beauty of form and beauty of interest or utility. He writes: "The foundation of this theory [Hume's theory of beauty in the Treatise and An Enquiry Concerning the Principles of Morals] is the division of beauty into two classes, the first that of pleasurable sentiment caused by an immediate response—that is, a response not mediated by the intervention of imagination or judgment—to the form or other perceptual qualities of an object, and the second that of pleasurable sentiment, which arises only when the perception of the form of an object is supplemented by a concept or concepts brought to bear on it by imagination or judgment." ("The Standard of Taste and the 'Most ardent Desire of Society,'" p. 46). What Guyer identifies as a distinction between kinds of beauty is for Hume a distinction between sources of ideas, however. The second kind of beauty requires reflection and the combination of other ideas. For Hume, there are not two kinds of beauty but two ways that the ideas of beauty, which is just a form of pleasure, are sorted. Reservations about Guyer's perspective on the earlier history of aesthetics do not detract from the interest of his analysis, however, which is always careful and detailed.The central eight essays labeled "Mostly Kant" trace themes that Guyer has treated in much greater detail in his earlier books. Two central themes are especially prominent throughout these essays. First, Guyer views Kant's theory of beauty as the harmony of the imagination and the understanding: "The concept of the free yet harmonious play between the cognitive powers of imagination and understanding is the central concept in Kant's explanation of the experience of beauty and the analysis of the judgment of taste" ("The Harmony of the Faculties Revisited," p. 77). He refers back to essentially this formulation throughout the subsequent essays. Much of the interest of these essays lies in the way Guyer explicates and defends this central thesis against alternative readings of Kant and objections that it is inconsistent with the freedom from concepts and the purity of beauty that Kant claims.Second, Guyer reads Kant's aesthetics as... (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the depicted scene, whereas our dorsal subsystem attributes properties to the picture surface. This duality elucidates Richard Wollheim’s concept of the “twofoldness” of (...) our experience of pictures: the “visual awareness not only of what is represented but also of the surface qualities of the representation.” I argue for the following four claims: (a) the depicted scene is represented by ventral perception, (b) the depicted scene is not represented by dorsal perception, (c) the picture surface is represented by dorsal perception, and (d) the picture surface is not necessarily represented by ventral perception. (shrink)

In this essay, our goal is to discover science in Martin Heidegger's Introduction to Metaphysics, lecture notes for his 1935 summer semester course, because, after all, his subject is metaphysica generalis, or ontology, and this could be construed as a theory of the human brain. Here, by means of verbatim quotes from his text, we attempt to show that indeed these lectures can be viewed as suggestion for an objective scientific theory of human perception, the human capacity for deciphering phenomena, (...) ie. hermeneutics in its broadest sense. His added notes from the 1953 edition, all of which are comments, not corrections, imply that he never abandoned these thoughts on metaphysics, despite all of his utterances about a need to overcome it, and their popular interpretations to that effect. In his presentation, he further develops the colorful and intuitive style, an hermeneutic language, that he had created in his earlier work Being and Time. Of human existence he speaks in such expressions as being-there -- ``Dasein" -- and being-in-the-world, the latter term no longer explicit in the 1935 lectures. The lectures can be read as a pre-scientific analysis of how man, being-there, perceives his environment, artfully managing to deal with the manifold challenges posed by the phenomenal structures of the universe. Man attentively recognizes and deciphers their pre-linguistic contents and, while trying to make sense of it all, puts into words his awareness. There are numerous passages in Heidegger's work where he in fairly concrete terms provides us with hints for a perceptive science that, as it turns out and is demonstrated below in this essay, can be explained in terms of recent advances in neuroscience. It would be implausible, even unthinkable, unimaginable, for there not to be found essential agreement between on one hand his philosophical insights gained by hermeneutics of Dasein, into how our brain functions to let us know what's happening & on the other hand, scientific discoveries obtained through anatomy, EEG, fMRI, TMS, electrode implants, etc, of brain structures & functions employed in perception of the momentary scene. A nexus between science and philosophy is provided in Heidegger's definitive treatment of the Logos, here interpreted as a structural version of Platonic forms (Burchard, 2014). This allows for neurolinguistic brain functions to serve as meta-context for Heidegger's being-in-the-world. The logical functions of Dasein's anatomical brain are performed by the logos machine, formerly the human soul, using top-down processing based on a global context, the noumenal cosmos which humans maintain internally. Heidegger's 1942/43 winter semester lectures Parmenides extend in unbroken fashion his 1935 work, proving that he never abandoned, as is widely claimed, his metaphysical avenue of thought. (shrink)

The prominence and peculiarity of color in French symbolist verse have often been noted. Yet the dominance of color in symbolism is not the result of aesthetic preference or mere poetic technique, as has been previously argued; rather, color functions, with the synaesthetic poetic context of which it is an integral part, as the direct manifestation of a particular metaphysical stance. Color leads to the heart of what symbolism is, for it is the paradigmatic literary expression of a general spiritual (...) crisis—a crisis in epistemology. The nineteenth century extended seventeenth-century empiricism—an empiricism which had invented mathematical measurement as the gauge of reality and which resulted in a predilection to see most authentic knowledge as quantifiable. The logical corollary of such a predilection is that all sensory experience is regarded as suspect. Newtonian physics had rationalized the laws of the universe in reducing its properties to atomical structures and laws of motion. Nothing, it seemed, was left unexplained. Those areas of perception which remained unquantifiable were dispelled as illusion or attributed to the necessary limitations of the human mind. The theories of John Locke act as a kind of historical watershed in this regard: they are the classic philosophic expression of the disjunction between sensory experience and knowledge which, in its nineteenth-century versions, would lead to the symbolist revolt. Françoise Meltzer is a professor of French literature and of comparative literature at the University of Chicago. Her previous contribution to Critical Inquiry is the translation of Christian Metz's "Trucage and the Film" . She is the author of The Trial of Psychoanalysis, Salome and the Dance of Writing, and Hot Property: The Stakes and Claims of Literary Originality. (shrink)

Against Danto's recent argument that the causation internal to basic actions is not a special, immanent causation, it is objected that (i) he introduces a notion of truncated action that involves a fallacious use of the Equals-subtracted-from-equals axiom, (ii) his version of the Identity Thesis turns upon a misleading notion of co-referentiality, and (iii) he falls into what, by his own theory of meaning, amounts to a category mistake concerning intentions as causes within actions. Hence Danto's arguments do (...) not warrant his materialist claim that causation is a univocal concept. (shrink)

Tradition has it that, although we experience darkness, we can neither hear nor hallucinate silence. At most, we hear that it is silent, in virtue of lacking auditory experience. This cognitive view is at odds with our ordinary thought and talk. Yet it is not easy to vouchsafe the perception of silence: Sorensen‘s recent account entails the implausible claim that the permanently and profoundly deaf are perpetually hallucinating silence. To better defend the view that we can genuinely hear and hallucinate (...) silence, we must reject the austere picture of conscious experience which underpins the cognitive theory. According to that picture, conscious experience is a simple relation between subjects and objects. In the absence of an object, there is no relation, and so no experience. By enriching this picture, room can be found for the experience of silence. I explore this idea in two phases. First, I defend the thought that we can hear and hallucinate certain forms of silence, such as pauses, in virtue of experiencing contrastive sounds. Second, I draw on Moore‘s analysis of sensation to suggest that simply experiencing silence is a special form of objectless consciousness. I offer two ways of fleshing out this idea. According to the first, auditory experience possesses a temporal field within which the absence of sounds can be perceived. According to the second, purely Moorean account, it is our capacity to listen in the absence of sounds that underlies the phenomenon of experiencing silence. (shrink)

This book is based on arguments presented in Achtenberg’s 1982 doctoral dissertation and several of her recent articles. In this book, Achtenberg forcefully and convincingly argues that a crucial connection exists between Aristotle’s metaphysics and ethics and that Aristotle’s ethics can be read on two levels—“in terms of its imprecise but fully justified claims,” or “in terms of the more precise metaphysical, physical, and psychological principles and arguments consideration of which gives the ethics greater articulation or depth”. She argues (...) that ethical virtue and emotions for Aristotle are cognitive: they involve cognition, not simply of particulars, but of the value of the particulars. In this, Achtenberg presents a sort of value realism that is, paradoxically, relative and relational at the same time. For Aristotle, she contends, “there are two principal types of value,” “the good and the beautiful”. The good is an analogical equivocal, that is, an imprecise universal that shares some important similarity among its instantiations but will show up in the particulars in varied and oftentimes wholly unexpected ways. Achtenberg further argues that the good and the beautiful can be understood in terms of metaphysical concepts of telos, entelecheia, or energeia of a thing, a person, or an act because telos is what makes a thing complete, truly being “what it is.” In sum, “[a] telos is a principle of preservation or enrichment” for the things of which it is the telos, just as sight is the telos of the eyes, and virtue is “energeia of the soul”. Although telos sets a limit concerning what is to be done and what is not, it is the kind of limit that is properly called “constitutive limit” as opposed to harmful or destructive limit. Ethical virtue, friendship, and just government are examples of telos as constitutive limitation because they make the subjects that possess them flourish, whereas moral vice, animosity, and unjust government are examples of destructive limitation. In light of this, Achtenberg offers a new interpretation of the Aristotelian “mean,” which denotes neither a trivial middling amount nor an uninspiring routinized behavior, but what is “the appropriate or the needed” in each situation. She concludes that, contrary to many other moral theorists, Aristotle’s appreciation of the perception of the value of the particulars as constituents of a flourishing life is an example of “imaginative construction” that makes parts meaningful in light of the whole, rather than an imaginative deconstruction that reduces a whole into senseless parts. She sums up the book by providing an assessment of Aristotle’s ethics in terms of its strengths and weaknesses. (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)

In this paper, I explore Augustine’s account of sense cognition in book 11 of De Trinitate. His discussion in this context focuses on two types of sensory state—what he calls “outer vision” and “inner vision,” respectively. His analysis of both types of state is designed to show that cognitive acts involving external and internal sense faculties are susceptible of a kind of trinitarian analysis. A common way to read De Trin. 11, is to interpret Augustine’s account of “outer” vision as (...) an analysis of sense perception and his account “inner” vision as an analysis of occurrent sensory memory and imagination. I argue against such a reading of De Trin. 11, however. Insofar as we take perception to be a phenomenally conscious mode of sensory awareness, outer vision cannot, I claim, be the equivalent of ordinary sense perception. For, on Augustine’s view, the deliverances of outer vision only reach the threshold of consciousness, when outer vision occurs in conjunction with inner vision. Hence, on my analysis, sense perception turns out to be a complex, hybrid state—one that involves both outer and inner vision. If I am right, acts of sense perception turn out not to be directly susceptible to trinitarian analysis. Even so, the account is interesting and nuanced for all that. (shrink)

Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - in other words it (...) is cognitively impenetrable. That part of vision is complex and articulated and provides a representation of the 3-D surfaces of objects sufficient to serve as an index into memory, with somewhat different outputs being made available to other systems such as those dealing with motor control. The paper also addresses certain conceptual and methodological issues, including the use of signal detection theory and event-related potentials to assess cognitive penetration of vision. A distinction is made among several stages in visual processing. These include, in addition to the inflexible early-vision stage, a pre-perceptual attention allocation stage and a post-perceptual evaluation, memory-accessing, and inference stage which provide several different highly constrained ways in which cognition can affect the outcome of visual perception. The paper discusses arguments that have been presented in both computer vision and psychology showing that vision is "intelligent" and involves elements of problem solving". It is suggested that these cases do not show cognitive penetration, but rather they show that certain natural constraints on interpretation, concerned primarily with optical and geometrical properties of the world, have been compiled into the visual system. The paper also examines a number of examples where instructions and "hints" are alleged to affect. (shrink)

In this paper I will claim that the different phenomenology of seeing-as experiences of ambiguous figures matches a difference in their intentional content. Such a content is non-conceptual when the relevant seeing-as experience is just an experience of organizational seeing-as. It is partially conceptual when the relevant seeing-as experience is an overall experience of seeing something as a picture that is identical with Wollheim’s seeing-in experience and is constituted by an experience of organizational seeing-as (its configurational fold) and by (...) an experience of knowingly illusory seeing-as (its recognitional fold). To my mind, Wittgenstein’s reflections on seeing-as have anticipated these claims. (shrink)

Reflectance realism is an important position in the philosophy of colour. This paper is an examination of David R. Hilbert’s case for there being scientific support for the theory. The specific point in question is whether colour science has shown that reflectance is recovered by the human visual system. Following a discussion of possible counter-evidence in the recent scientific literature, I make the argument that conflicting interpretations of the data on reflectance recovery are informed by different theoretical assumptions about the (...) nature of
colour, and of perception. If this is so, there cannot be neutral empirical
evidence on this point, and this does seem to undermine Hilbert’s claim for
empirical support. In the end, I suggest alternative ways of thinking about the relationship between colour ontology and empirical work on colour. (shrink)

Pylyshyn's argument is very similar to one made in the 1960s to the effect that vision may be influenced by spatial selective attention being directed to distinctive stimulus features, but not by mental set for meaning or membership in an ill-defined category. More recent work points to a special role for spatial attention in determining the contents of perception.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.1 (2002) 65-72 [Access article in PDF] Multiple Paths to Delusion Philip Gerrans Response to Phillips JAMES PHILLIPS COMMENTS are summarized in four recommendations. Clarify the Relationship of the Cognitive Model to its Neuroscientific Base The cognitive approach postulates a cognitive entity whose information-processing properties explain a symptom or unify a set of symptoms. The key idea is that we can use a model of (...) normal cognitive functioning to explain a disorder in terms of failure of a component of the model. In the case under discussion, the symptom is the loss of affect, which is part of the clinical profile of both the Capgras and Cotard delusions. The body of neuropsychological data concerning links between recognitional and affective processes extends back at least to Charcot's patient M. X. whose affective responses to familiar situations were lost, together with his visual episodic memory. M. X described his phenomenology this way: A remarkable consequence of this loss of mental ability is, as I have said, the change in my personality and impressions. I am much less affected by sorrow or grief. I can tell you that, after losing one of my relatives with whom I was very close, I experienced a much less intense grief than if I had still been able to image the features of that relative, the stages of the illness he went through, or especially if I had been able to picture to myself [voir interieurement] the outward effect of this untimely death on the members of my family. (Young and van de Wal 1996) (It is interesting to note that M. X. retained insight into his condition and explained it in a lucid, rational way rather than forming a delusional belief. Initial evidence for a two-stage theory, one might have thought).Given convergent evidence that the limbic system is the basis of affective states, the hypothesis that the delusions under discussion are rationalizations of unusual affective experiences consequent on abnormal limbic function or loss of connection between limbic and other functions is an inference to the best explanation. The Young-Ellis model is a cognitive model that describes cognitive function at what Dennett calls the design level, intermediate between what Marr called the computational level and level of representation and algorithm. As such it implies only that the boxes and arrows are implemented neurally, but endorses no hypotheses about the nature of that implementation.It is correct of Phillips to observe that the crucial inference about the link between affective and cognitive function is grounded in a background theory of the relationship between cognitive models, clinical symptoms, and neurobiology. If Phillips' complaint is that the model cannot be sheeted home to a neurobiological substrate, [End Page 65] this is true. Implementation theories are thin on the ground in cognitive science because they would require a theory of biological computation that, despite partisan claims, is elusive. Nonetheless, information-processing models and partial implementation theories for specific functions such as perception, language, face recognition, and the affective systems do exist. The allusion to cognitive structure remains sound as long as it accounts for observable clinical and experimental data and makes verifiable predictions.The fact that the Young-Ellis model of face recognition can account for both normal function and a variety of forms of prosopagnosia together (under assumptions about the relation between belief and experience) with delusions of misidentification counts in its favor (Ellis 1998).Phillips objection to cognitive theories is stronger when we turn to models of belief and rationality. In the case of functions such as face recognition or language, there is a variety of convergent evidence, especially from deficit studies, to support a model of normal cognitive function. For example, we know that face recognition activates schemas concerning orientation, features, emotions, and gender because these components can be selectively damaged (Young 1998). However, we lack a model of normal human reasoning other than "folk theory" of belief-desire psychology. Cognitive theories of belief formation are often forced to use models derived from philosophy such as logic, probability theory, or decision theory, which are amenable to... (shrink)

The ontological question of what there is, from the perspective of common sense, is intricately bound to what can be perceived. The above observation, when combined with the fact that nouns within language can be divided between nouns that admit counting, such as ‘pen’ or ‘human’, and those that do not, such as ‘water’ or ‘gold’, provides the starting point for the following investigation into the foundations of our linguistic and conceptual phenomena. The purpose of this paper is to claim (...) that such phenomena are facilitated by, on the one hand, an intricate cognitive capacity, and on the other by the complex environment within which we live. We are, in a sense, cognitively equipped to perceive discrete instances of matter such as bodies of water. This equipment is related to, but also differs from, that devoted to the perception of objects such as this computer. Behind this difference in cognitive equipment underlies a rich ontology, the beginnings of which lies in the distinction between matter and objects. The following paper is an attempt to make explicit the relationship between matter and objects and also provide a window to our cognition of such entities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 411-412 [Access article in PDF] Deborah Achtenberg. Cognition of Value in Aristotle's Ethics: Promise of Enrichment, Threat of Destruction. Albany: The State University of New York Press, 2002. Pp. xiii + 218. Paper, $20.95.Deborah Achtenberg argues that, for Aristotle, virtue is a disposition to respond to situations with the appropriate emotions, where emotions are understood as perceptions of the value of (...) particulars. To perceive the value of a particular is to perceive that particular as a limit; some limits enable what they limit to be more fully what it is, while other limits do the opposite. My activity in writing this review, for example, is "limited" both by the rules of grammar and by my computer's tendency to crash frequently; one kind of limit enriches my activity, while the other hinders and threatens it (hence Achtenberg's subtitle). An enabling limit is a telos or end; something is a telos of yours if it connects you to a larger context that in some way fulfills or completes you.Achtenberg's interpretation enables her to steer Aristotle clear of a number of persistent false dichotomies. For example: is the doctrine of the mean an uninspiring counsel to do the middling thing, or a vacuous counsel to do whatever one ought to do? Neither, says Achtenberg; rather, it is Aristotle's way of insisting on the flexibility of the virtuous person's [End Page 411] responses. Is Aristotle siding, then, with Odysseus, who suppressed his emotions in order to suit his actions to the demands of the occasion, as against Achilles, who stubbornly followed his emotions regardless of circumstance? No, that dichotomy falls as well: the virtuous person has flexible emotional (not just behavioral) responses, and so can be as adaptable as Odysseus yet as sincere as Achilles.Does Aristotle's ethics have a metaphysical foundation, or is it autonomous? Achtenberg dissolves that dichotomy by distinguishing two different ways in which Aristotle takes ethics to be an "imprecise" science. First, ethics and metaphysics are both imprecise, because they share a common subject-matter (final causation) that is an analogical equivocal and so indefinable. Second, ethics is less precise than metaphysics because ethics can establish that, but not explain why, its claims are true. Metaphysics can explain the why of ethics, but for practical purposes the why is not necessary; so metaphysics is explanatorily but not epistemically prior to ethics.How can Aristotle's particularist-sounding denial that the virtuous person needs rules be reconciled with his insistence that the virtuous person follows a logos? Must we play down the logos passage, or instead conclude that Aristotle is a rule-theorist after all? Once again, neither: in this context, Achtenberg suggests, logos means "analogy," not "rule." Since goodness is an analogical equivocal, perceiving goodness means perceiving analogies. Being transcategorial, these analogies are not definable or codifiable, so the rule-theorists are wrong; but we are grasping something common to all good things, so the particularists are wrong too.Let me close with a couple of criticisms. Once the notion of an enabling limit has been established, Achtenberg seems to accept as unproblematic the inference to the legitimacy of paternalistic legislation: citizens are more free, not less, for being subjected to such coercion. Now on a view that regarded persons primarily as moral patients or recipients, it might be reasonable enough to elide in this way the difference between imposing limits on oneself and having them imposed by external compulsion; but it is harder to see how forcibly imposed limits could be constitutive of a life's being happier when happiness is defined, with Aristotle, as a self-generated activity.I think Achtenberg also fails to catch one false dichotomy. She contrasts Aristotle's theory, which seeks to increase and enhance emotional awareness, with the Stoic theory (as represented by Marcus Aurelius), which seeks to decrease or suppress such awareness. The contrast seems to me misleading. Both Aristotle and the Stoics agree that moral maturation involves... (shrink)