Disjunctivism, as a theory of visual experience, claims that the mental states involved in a “good case” experience of veridical perception and a “bad case” experience of hallucination differ, even in those cases in which the two experiences are indistinguishable for their subject. Consider the veridical perception of a bar stool and an indistinguishable hallucination; both of these experiences might be classed together as experiences (as) of a bar stool or experiences of seeming to see a bar stool. This (...) might lead us to think that the experiences we undergo in the two cases must be of the same kind, the difference being that the former, but not the latter, is connected to the world in the right kind of way. Such a conjecture has been called a “highest common factor” or “common kind” assumption. At heart, disjunctivism consists in the rejection of this assumption. According the disjunctivist, veridical experiences and hallucinations do not share a common component. There are a host of interesting questions surrounding disjunctivism including: What is involved in the claims that good case and bad case experiences differ? Why might one might want to be a disjunctivist? What kinds of claims can the disjunctivist make about hallucination and illusion? These questions, and problems for the thesis, will be discussed as we proceed. (shrink)

A major obstacle to the acceptance of materialist theories of the mind is the problem of sensory consciousness. How could a physical brain produce conscious sensory states that exhibit the rich and luxurious qualities of red velvet, a Mozart concerto or fresh-brewed coffee? A full answer to this question requires two different sorts of theory. The first sort considers what all these conscious sensory states have in common, by virtue of being conscious as opposed to unconscious (...) states. The second sort considers what distinguishes conscious sensory-states from each other, for example, how the qualities in a conscious sensory state of red velvet differ from those of a Mozart concerto. I propose a theory of the first sort, that is, an explanation of the distinction between conscious and unconscious sensory states. ;According to the second sense theory, conscious sensory states are coordinated sensory representations of the present moment produced by a second sense. Three elements are necessary and jointly sufficient for sensory consciousness. Sensory representations must be coordinated toward action in the world. The representations included in the content of a conscious sensory state are those that will aid the creature in assessing current environmental conditions according to the task at hand. Conscious sensory states represent states of affairs as occurring at the present moment. In other words, sensory consciousness is constituted by the coordination of sensory representations into a representation of what is happening 'now.' The mechanism responsible for coordinating sensory representations into conscious sensory states is the second sense. A second sense mechanism explains how some sensory representations become coordinated into a conscious sensory state while others remain unconscious. ;In addition to providing an explanation of sensory consciousness, the second sense theory is nicely suited to a Gibsonian account of subjectivity, whereby information about the subject is specified simultaneously in perception with information about the object. I argue that the subject, at its most bare, is the locus of an egocentric map, the zero point of a coordinate system which specifies objects according to here. (shrink)

Resumo: Percepção sensorial: até hoje um grande mistério filosófico. O presente trabalho divide-se em duas partes. A primeira sintetiza a crítica ao modelo representacionista intracerebral predominante, e enuncia um argumento que prepara o terreno para a segunda parte do trabalho. Nesta, a teoria pragmatista da percepção é equiparada à de Aristóteles, em De Anima. Eis, grosso modo, o argumento: percepção resulta de fatores causais da natureza inerentes à transação organismo ambiente; tais fatores não podem ser encontrados entre os elementos ontológicos (...) revelados na própria percepção; logo a estrutura ontológica revelada na percepção não reflete a total complexidade da transação real organismo ambiente. Esta conclusão é crucial para entender a teoria pragmatista-aristotélica da percepção; passagem da fase sujeito-no-mundo para a fase mundo-no-sujeito, via recepção imaterial de formas - estabelecimento de campo anteceptivo consciente de potencialidades de ação subentendidas em tais formas. Pragmatismo como naturalismo esclarecido: a percepção é a versão histórico-natural mais evoluída do mesmo mecanismo chave-e-fechadura próprio da detecção de formas inerente a interações ontológicas elementares - biológicas e mesmo físico-químicas. Mas em vez de detecção-na-ação nomológica/biológico automática: detecção consciente, em aberto, de possibilidades de ação livre inscritas no ambiente do precipiente.: Even today, sensorial perception is a great philosophic mystery. This work is divided in two parts: The first synthesizes and criticizes the prevailing cerebral representationism model and enunciates an argument that prepares the field to second one. In this second part the pragmatism perceptions theory is compared to Aristotle's De Anima. Here is, in a general way, the argument: perception is the result of nature's cause factors intrinsic to organism environment transaction; these factors cannot be encountered among revealed ontological elements of this same perception; therefore the ontological structure reveled by perception doesn't reflect the totality of the organism-environment's transaction complexity. This conclusion is vital to understand the Aristotelian-pragmatic perception theory: the subject-on-world's transposition to world-on-subject phase, via "immaterial reception of forms"- establishment of the anteceptive field conscious of the action potentialities in such way. Pragmatism naturalism cleared up: the perception is a natural-historic evolved version of this same key-and-locker mechanism proper to form detection intrinsic of elementary ontological, biologic and even physical-chemical interaction. But instead of detection in the automatic nomological/biological action: conscious detection, opened, of free actions possibilities inserted in the percipient environment. (shrink)

Teleological theories are often dismissed in the study of animal behaviour, because of both the anthropomorphic element, and the paradox of retro-causation. Instead, emergent properties of animal systems, such as those which drive behaviour and decision making, are generally deemed to be non-purposeful. Nonetheless, organisms’ interactions with the environment, including sensory processing, have long been subject to biological study, and the resulting models include Jakob von Uexküll’s functional circle (part of his ‘Umwelt Theory’). The functional circle is (...) modelled on an assumption of three- dimensional space containing matter and energy, and one-dimensional, linear time. Moreover, the function of such models relies upon feedback within biological systems, and generally assume that the functional feedback loops close. I argue that this is impossible, because a feedback loop cannot go back intime to close itself, and so whilst it may approximate closure in space, it does not close in the dimension of time. To address this problem, I propose a conceptual model where time is treated as having a three- dimensional structure, and is measured in terms of past, future, and subjective present, termed the ‘period,’ ‘present’ and ‘phase,’ respectively. Space and matter, meanwhile, occur as a two- dimensional intersect, in which three-dimensional emergent properties which occur ion time are embedded. The model relies on functional helices rather than circles, and the loops of each helix (unlike circular loops) never achieve closure. I explain how this therefore results in a biological system, based on both feedback and anticipatory probabilities, which is both autopoietic and teleological. I also provide examples of how the concept can be applied, using foraging behaviour as an example. I further propose the theoretical origin of such a system is ‘timing’ and ‘rhythm,’ both of which I argue have their origins in single cellular organisms’ chemotaxis and the associated gradient descent search. (shrink)

The essence of Marxist philosophy is a philosophical criticism of society, and its development is driven by its philosophical criticism of social phenomena. Examining and criticizing music from a philosophical perspective can provide us with a brand new theoretical framework for music philosophy, exploring and applying new philosophical theories to analyze the fusion of ethnic elements in modern music composition, thereby expanding the philosophical field of music. This paper first introduces the concept and development of Marx's philosophy and philosophical view (...) of music, then analyzes the characteristics and current situation of the fusion of ethnic elements in modern music composition and discusses the criticality and practicality of the fusion of ethnic elements in modern music composition under the perspective of Marx's philosophical view. Finally, it is pointed out that the fusion of ethnic elements in modern music composition has the philosophical basis of combining formal analysis with meaning interpretation, technical rationality with musical aesthetics, and intersubjectivity. From the perspective of Marxist philosophy, exploring the philosophical foundation of the combination of modern music composition and ethnic factors helps to deeply analyze the philosophical connotations of modern music composition and ethnic elements, seek dialogue and understanding between modern music and ethnic elements, and reshape human sensory understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

The article reconstructs Leibniz’s theory of the relation between perceptions and reality. Leibniz’s position is different both from that of Descartes, according to whom the perceptions of the senses, unlike those of the mind, are never perceptions of reality, and from that of Locke, according to whom only the perceptions of primary qualities have a resemblance to reality, whereas secondary qualities do not correspond to anything real. The author shows that, according to Leibniz, the expressive link between perception and (...) reality can be pursued in both directions: the analysis of ordinary perception allows us, on the one hand, to arrive at distinct perceptions of reality; on the other hand, Leibniz shows against Locke that even secondary qualities express a certain reality, namely that of the constitution of our body and of our sensory apparatus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

In order to extract the regularities underlying a continuous sensory input, the individual elements constituting the stream have to be encoded and their transitional probabilities (TPs) should be learned. This suggests that variance in statistical learning (SL) performance reflects efficiency in encoding representations as well as efficiency in detecting their statistical properties. These processes have been taken to be independent and temporally modular, where first, elements in the stream are encoded into internal representations, and then the co‐occurrences between them (...) are computed and registered. Here, we entertain a novel hypothesis that one unifying construct—the rate of information in the sensory input—explains learning performance. This theoretical approach merges processes related to encoding of events and those related to learning their regularities into a single computational principle. We present data from two large‐scale experiments with over 800 participants tested in support for this hypothesis, showing that rate of information in a visual stream clearly predicts SL performance, and that similar rate of information values leads to similar SL performance. We discuss the implications for SL theory and its relation to regularity learning. (shrink)

The interpretive-sensory access theory of self-knowledge claims that we come to know our own minds by turning our capacities for knowing other minds onto ourselves. Peter Carruthers argues that two of the theory’s advantages are empirical adequacy and scientific fruitfulness: it leaves few of the old discoveries unexplained and makes new predictions that provide a framework for new discoveries. A decade has now passed since the theory’s introduction. I review the most important developments during this time (...) period regarding the two criteria: whether the theory’s six main predictions were supported, and whether the theory’s predictions contributed to new empirical studies. I argue that the interpretive-sensory access theory of self-knowledge remains empirically adequate and scientifically fruitful. (shrink)

Perception is a central topic in both epistemology and philosophy of mind. This essay addresses perception from both perspectives, exploring its structure, phenomenology, and relation to belief and knowledge. Perception embodies sensory experience and in that way is phenomenologically representational; it is a response to its object and in that way a source of information about what is perceived; and it is a basis of belief and knowledge and in that way enables us to navigate the world. These points (...) are examined in relation to five dimensions of the theory of perception: the “contents” of perceptual experience; the levels of its responsiveness to its objects; the extent to which, in various forms, it may depend on conceptualizing what is perceived; its liability to influence by the perceiver’s beliefs or theoretical commitments; and its role in grounding justification and knowledge. (shrink)

The interpretive-sensory access theory of self-knowledge claims that one knows one’s own mind by turning one’s capacity to know other minds onto oneself. Previously, researchers mostly debated whether the theory receives the most support from the results of empirical research. They have given much less attention to the question whether the theory is the simplest of the available alternatives. I argue that the question of simplicity should be considered in light of the well-established theories surrounding the (...) ISA theory. I claim that the ISA theory then proves to be the simplest. I reply to objections to this claim related to recent developments in this area of research: the emergence of a unified transparency theory of self-knowledge and the relative establishment of the predictive processing theory. (shrink)

This study examines the cross‐cultural generality of Hering's (1878/1964) color‐opponent theory of color appearance. English‐speaking and Somali‐speaking observers performed variants of two paradigms classically used to study color‐opponency. First, both groups identified similar red, green, blue, and yellow unique hues. Second, 25 English‐speaking and 34 Somali‐speaking observers decomposed the colors present in 135 Munsell color samples into their component Hering elemental sensations—red,green,blue, yellow, white, and black—or else responded “no term.” Both groups responded no term for many samples, notably purples. (...) Somali terms for yellow were often used to name colors all around the color circle, including colors that are bluish according to Hering's theory. Four Somali Grue speakers named both green and blue elicitation samples by their term for green. However, that term did not name the union of all samples called blue or green by English speakers. A similar pattern was found among three Somali Achromatic speakers, who called the blue elicitation sample black or white. Thus, color decomposition by these Somali‐speaking observers suggests a lexically influenced re‐dimensionalization of color appearance space, rather than a simple reduction of the one proposed by Hering. Even some Somali Green‐Blue speakers, whose data were otherwise similar to English, showed similar trends in yellow and blue usage. World Color Survey data mirror these results. These within‐ and cross‐cultural violations of Hering's theory do not challenge the long‐standing view that universal sensory processes mediate color appearance. However, they do demonstrate an important contribution of language in the human understanding of color. (shrink)

Ernst Cassirer viewed mythical thinking as a first step in our mental representation of the real world, but only a first step. What myth leaves out are the differentiations that lead eventually to science. To the primitive, mythically inclined mind, the world is an undifferentiated whole, the elements of which—including the mind itself—are thought to be concrete and interconnected. This means that there is no distinction between observer and observed, and that the observer sees the representations with which she constructs (...) her picture of reality as direct apprehensions of reality, untnediated by any sensory or cognitive categories. Far as that way of thinking may seem from the modern mindset, we have only to examine commonplace political ideas to find evidence of the implicit assumption of an unmediated connection between the wishes of poltical agents and the results they intend to achieve. (shrink)

It is typically assumed that while we know other people’s mental states by observing and interpreting their behavior, we know our own mental states by introspection, i.e., without interpreting ourselves. In his latest book, The opacity of mind: An integrative theory of self-knowledge, Peter Carruthers (2011) argues against this assumption. He holds that findings from across the cognitive sciences strongly suggest that self-knowledge of conscious propositional attitudes such as intentions, judgments, and decisions involves a swift and unconscious process of (...) self-interpretation that utilizes the same sensory channels that we employ when working out other people’s mental states. I provide an overview of Carruthers’ book before discussing a pathological case that challenges his account of self-knowledge and mentioning empirical evidence that undermines his use of a particular kind of data in his case against introspection of conscious attitudes. (shrink)

This is clearly an important anthology. Each contributor is a philosopher of considerable reputation and each article is a development of themes its author has expounded over a period of time. Quine examines two questions: the nature of the data of experience and measurement of theoreticity or distance from the data. Why does Quine, who rejects classical sense data, continue to raise questions about the location of "data?" Why supplant the old sensory atomism with a new sensory atomism? (...) An alternative would be to build a "first philosophy" on awareness of physical objects without recourse to "data." This approach would preserve one element of classical theories while rejecting another —precisely the opposite effect of Quine’s view. Goodman’s article is an attack upon some blithe assumptions about the helpfulness of invoking the relation of similarity to solve philosophical problems. The argument does not seem strong enough, however, to warrant the concluding claim that statements of similarity have henceforth been eliminated "from the philosopher’s dwindling kit." Variations in the viewpoints, etc., of perceivers need not affect similarities of objects but only which similarities are averted to. Parts of Goodman’s argument appear to assume the opposite. (shrink)

1. On the contradictory nature of contemporary linguistic theories and how to change it for the better -- 2. A reference-based approach to describing notional words -- 3. Basic-level concepts as the neurobiological codes for memory -- 4. Elements of a sensory grammar -- 5. On the single structure of lexical meanings of nouns and verbs -- References -- Index.

This paper analyzes Kent Bach’s representational theory of action, one of the causal theories of action. Bach’s theory sets requirements not only for the cause of an action, but also for how it unfolds in time and transitions into another action. These requirements suggest a sequential emergence of two components of the agent’s action awareness: the representation of the prepared movement and the perception of its sensory consequences. Bach introduces the concepts of “effective representation” (ER) and “receptive (...) representation” (RR) to denote these components of awareness. According to representational theory, action has a cyclic three-step causal structure, where ER is the cause of a movement, the movement is the cause of RR, and RR is the cause of ER of subsequent movement. In constructing his theory, Bach tries to take into account the problem of deviant causal chains and to introduce the so-called minimal actions into the purview of the philosophy of action. Relying on the behavioral data on blindfolded deafferentated patients, in this paper I argue that RRs are not a necessary element of action. I also analyze Bach’s distinction between ER and RR and compare it with J. Searle’s approach, placing Bach’s theory within the context of studies of the structure of intentional states. I show that Bach’s theory occupies a unique position among views on the structure of action awareness. At the same time, I conclude that the frameworks of Bach and Searle are insufficient for describing the metaphysical difference between the two kinds of intentional states, and I also point out the difficulties facing the notion of ER. Based on this reasoning and the data on deafferentated patients, I propose a modification of the causal structure of action proposed by Bach, making a remark about the inadequate definition of ER. In the proposed modification, RR and the agent’s prior intention serve as alternative components of action awareness. (shrink)

Mandik (2010) defends a motor theory of control consciousness according to which nonsensory states, like motor commands, directly contribute to the awareness we have of ourselves as being in control of our actions. Along the way, he argues that his theory is to be preferred over Prinz’s (2007) sensory imagery theory, which denies that nonsensory states play any direct role in the generation of control consciousness. I argue that Mandik’s criticisms of Prinz’s theory fall short, (...) but that nonetheless there are reasons to favor a motor theory of control consciousness over a sensory imagery theory. (shrink)

ACCORDING to Bertrand Russell—and phenomenalism in general—all the complex constructs of non-scientific and scientific thought are logically derivable from what are termed ‘atomic facts’ or ‘atomic events’. These atomic facts totally constitute what is directly given in sensory experience, in contrast with those elements in knowledge which are logically constructed from these atomic facts. In line with this distinction between the sensory and the conceptual, Russell made a corresponding distinction between ‘knowledge by acquaintance’ and ‘knowledge by description’. Russell (...) stated this two-fold breakdown in the following way. (shrink)

In 1943, a distinguished child psychiatrist at Johns Hopkins University, Leo Kanner, published what would become a landmark article: a description of 11 children who suffered from a distinct disorder he called ‘infantile autism’. While initially quite obscure, in the early 1950s Kanner’s report garnered much attention, as clinicians and researchers interpreted these case studies as exemplifying the ill-effects of maternal deprivation, a new theory that rapidly gained currency in the United States. Sensory deprivation experiments, performed in the (...) mid-1950s, further complicated the picture, as experts debated whether maternal deprivation was unique or simply a form of environmental stimulation. As experts strove to make sense of this new disorder, they relied on concepts of maternal and sensory deprivation, both to promote their own theories and to critique or refute those of their colleagues. This interplay between the two theories also informed new forms of intervention, including ‘rage reduction therapy’, which served as a precursor for controversial forms of therapy today termed as the ‘attachment therapies’. This article sheds light on a little-known aspect of the history of autism, and examines the far-reaching effect popular etiological theories have in shaping debates over emerging medical concerns. (shrink)

If we acknowledge that a perceptual experience’s sensory phenomenology is not inherently representational, we face a puzzle. On the one hand, sensory phenomenology must play an intimate role in the perception of ordinary physical objects; but on the other hand, our experiences’ purely sensory element rarely captures our attention. I maintain that neither indirect realism nor the dual component theory provides a satisfactory solution to this puzzle: indirect realism is inconsistent with the fact that (...) class='Hi'>sensory phenomenology typically goes unnoticed by perceivers; while, the dual component theory cannot do justice to the important role that sensory phenomenology plays in our perceptual awareness of physical objects. I argue that in order to avoid the difficulties with each of the standard alternatives, we must characterize sensory phenomenology as functioning in the way that linguistic symbols function in thought. (shrink)

This article seeks the origin, in the theories of Ibn al-Haytham (Alhazen), Descartes, and Berkeley, of two-stage theories of spatial perception, which hold that visual perception involves both an immediate representation of the proximal stimulus in a two-dimensional ‘‘sensory core’’ and also a subsequent perception of the three dimensional world. The works of Ibn al-Haytham, Descartes, and Berkeley already frame the major theoretical options that guided visual theory into the twentieth century. The field of visual perception was the (...) first area of what we now call psychology to apply mathematics, through geometrical models as used by Euclid, Ptolemy, Ibn al-Haytham, and Descartes (among others). The article shows that Kepler’s discovery of the retinal image, which revolutionized visual anatomy and entailed fundamental changes in visual physiology, did not alter the basic structure of theories of spatial vision. These changes in visual physiology are advanced especially in Descartes' Dioptrics and his L'Homme. Berkeley develops a radically empirist theory vision, according to which visual perception of depth is learned through associative processes that rely on the sense of touch. But Descartes and Berkeley share the assertion that there is a two-dimensional sensory core that is in principle available to consciousness. They also share the observation that we don't usually perceived this core, but find depth and distance to be phenomenally immediate, a point they struggle to accommodate theoretically. If our interpretation is correct, it was not a change in the theory of the psychology of vision that engendered the idea of a sensory core, but rather the introduction of the theory into a new metaphysical context. (shrink)

Some sensory experiences are pleasant, some unpleasant. This is a truism. But understanding what makes these experiences pleasant and unpleasant is not an easy job. Various difficulties and puzzles arise as soon as we start theorizing. There are various philosophical theories on offer that seem to give different accounts for the positive or negative affective valences of sensory experiences. In this paper, we will look at the current state of art in the philosophy of mind, present the main (...) contenders, critically compare and contrast them. In particular, we want to examine how they handle the reason-giving power of affective states. We will look into two representationalist proposals (Evaluativism and Imperativism) and a functionalist proposal, and argue that, contrary to their own advertisements, the representationalist proposals don’t have good accounts of why and how sensory affect can motivate, rationalize, and justify subsequent behavior and intentional mental activity. We will show that our own functionalist proposal does a much better job in this regard, and that when the representationalist proposals are modified to do a better job, they fare better not because of their representationalist credentials but due to their functionalist ones. (shrink)

We give a short proof of the fundamental theorem of central element theory. The original proof is constructive and very involved and relies strongly on the fact that the class be a variety. Here we give a more direct nonconstructive proof which applies for the more general case of a first-order class which is both closed under the formation of direct products and direct factors.

Abstract The last two decades have witnessed a vast expansion in research and writing on the sociology of the body and on issues of embodiment. Indeed, both sociology in general and the sociology of sport specifically have well heeded the long-standing and vociferous calls ‘to bring the body back in’ to social theory. It seems particularly curious therefore that the sociology of sport has to-date addressed this primarily at a certain abstract, theoretical level, with relatively few accounts to be (...) found that are truly grounded in the corporeal realities of the lived sporting body; a ‘carnal sociology’ of sport, to borrow Crossley’s (1995) expression. To portray and understand more fully this kind of embodied perspective, it is argued, demands engaging with the phenomenology of the body, and this article seeks to contribute to a small but growing literature providing this particular form of ‘embodied’ analysis of the body in sport. Here we identify some useful intellectual resources for developing a phenomenology of sporting experience, specifically its sensory elements, and also subsequently examine the potential for its evocative portrayal and effective analysis via different kinds of textual forms. (shrink)

Modifications of current theories of ordinal, interval and extensive measurement are presented, which aim to accomodate the empirical fact that perfectly exact measurement is not possible (which is inconsistent with current theories). The modification consists in dropping the assumption that equality (in measure) is observable, but continuing to assume that inequality (greater or lesser) can be observed. The modifications are formulated mathematically, and the central problems of formal measurement theory--the existence and uniqueness of numerical measures consistent with data--are re-examined. (...) Some results also are given on a problem which does not arise in current theories: namely that of determining limits of accuracy attainable on the basis of observations. (shrink)

The chapter aims to provide at least a partial analysis of the word ‘happiness’ as it is used in everyday language. The author tries to make clear exactly what we are looking for in a theory of happiness and then goes on to argue for a particular theory. The theory that the author endorses is a composite of affective and cognitive elements. The chapter looks at four monistic theories of happiness before showing why each is insufficient. It (...) considers two affective accounts of happiness: sensory hedonism and emotional state theory. The chapter then discusses two cognitive accounts. It shows that whole life satisfaction is not a constituent of superlative happiness, though whole life satisfaction is perhaps the most common understanding of happiness in both social science and philosophical literature. The author argues for a composite view of happiness that includes sensory pleasure, positive emotional states, and positive propositional attitudes. (shrink)

Selective scientific realists disagree on which theoretical posits should be regarded as essential to the empirical success of a scientific theory. A satisfactory account of essentialness will show that the (approximate) truth of the selected posits adequately explains the success of the theory. Therefore, (a) the essential elements must be discernible prospectively; (b) there cannot be a priori criteria regarding which type of posit is essential; and (c) the overall success of a theory, or ‘cluster’ of propositions, (...) not only individual derivations, should be explicable. Given these desiderata, I propose a “unification criterion” for identifying essential elements. (shrink)

In this paper we argue that sensory exploitation, a model from sexual selection theory, deserves more attention in evolutionary thinking about art than it has up until now. We base our argument on the observation that in the past sensory exploitation may have been underestimated in sexual selection theory but that it is now winning field. Likewise, we expect sensory exploitation can play a more substantial role in modeling the evolution of art behavior. Darwin's (...) class='Hi'>theory of sexual selection provides a mechanistic basis to explain the evolution of male display traits. This mechanistic approach has proven useful to developing hypotheses about the evolution of human art. Both Boyd and Richerson (1985) and Miller (1998, 1999, 2000, 2001) have applied an indirect-benefit model from sexual selection to the evolution of art behavior. We argue that the mechanistic possibilities sensory exploitation has to offer as a model have remained underexplored so far, so we propose a concept based upon it. From the sensory exploitation perspective it follows that exaptive exploitation of psychosensory biases is a primary force in the evolution of art production (notice that the use of a model from sexual selection does not imply art evolved as a sexual display - we only use it for its mechanism) and that the indirect-benefit model only provides secondary forces. Thus, sensory exploitation may operate alone under some conditions but usually secondary processes as a result of indirect benefits are expected to kick in. The concept of sensory exploitation will need to play a central role in articulating all of the existing hypotheses about art. (shrink)

Pain is commonly explained in terms of the perceptual activity of a distinct sensory modality, the function of which is to enable us to perceive actual or potential damage to the body. However, the characterization of pain experience in terms of a distinct sensory modality with such content is problematic. I argue that pain is better explained as occupying a different role in relation to perception: to indicate when the stimuli that are sensed in perceiving anything by means (...) of a sensory modality exceed a significant level of intensity. Viewing the system underlying pain experience as an integral and functionally integrated feature of all the senses provides a new perspective on the diverse forms of pain, what it is like to experience pain and the contrasting natures of pain and pleasure. (shrink)

Several recent accounts claim that imagination is a matter of simulating perceptual acts. Although this point of view receives support from both phenomenological and empirical research, I claim that Jean-Paul Sartre's worry formulated in L'imagination (1936) still holds. For a number of reasons, Sartre heavily criticizes theories in which the sensory material of imaginative acts consists in reviving sensory impressions. Based on empirical and philosophical insights, this article explains how simulation theories of imagination can overcome Sartre's critique by (...) paying attention to the motor dimension of imagination. Intending to clarify the status of the sensory in imagination, a motor theory of imagination is presented in which the sensory component of imagination is interpreted in terms of anticipated sensory consequences of preparation for motor action. (shrink)

This paper explores the truism that people think about what they say. It proposes that, to satisfy their own goals, people often plan their speech acts to affect their listeners' beliefs, goals, and emotional states. Such language use can be modelled by viewing speech acts as operators in a planning system, thus allowing both physical and speech acts to be integrated into plans. Methodological issues of how speech acts should be defined in a planbased theory are illustrated by defining (...) operators for requesting and informing. Plans containing those operators are presented and comparisons are drawn with Searle's formulation. The operators are shown to be inadequate since they cannot be composed to form questions (requests to inform) and multiparty requests (requests to request). By refining the operator definitions and by identifying some of the side effects of requesting, compositional adequacy is achieved.The solution leads to a metatheoretical principle for modelling speech acts as planning operators. (shrink)

A major obstacle for materialist theories of the mind is the problem of sensory consciousness. How could a physical brain produce conscious sensory states that exhibit the rich and luxurious qualities of red velvet, a Mozart concerto or fresh-brewed coffee? Caging the Beast: A Theory of Sensory Consciousness offers to explain what these conscious sensory states have in common, by virtue of being conscious as opposed to unconscious states. After arguing against accounts of consciousness in (...) terms of higher-order representation of mental states, the theory claims that sensory consciousness is a special way we have of representing the world. The book also introduces a way of thinking about subjectivity as separate and more fundamental than consciousness, and considers how this foundational notion can be developed into more elaborate varieties. An appendix reviews the connection between consciousness and attention with an eye toward providing a neuropsychological instantiation of the proposed theory. (shrink)