Both introspection and empirical studies suggest that visual attention can affect the phenomenology of our visual experience. However, the exact character of such effects is far from clear. My aim in this chapter is to spell out the main difficulties involved in attempting to achieve a clearer view of these effects, and to make some suggestions as to how we can make progress with this issue while avoiding tempting mistakes. I do this by discussing the question (...) of whether there is a sense in which attention to a seen object can be said to contribute to the object’s visual phenomenal salience. It is often suggested that focusing visual attention on a seen object renders the object phenomenally salient. I look at potential evidence for this suggestion, and consider what form, if any, of visual phenomenal salience it may support. (shrink)

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She (...) then introduces a method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

This paper proposes a classificatory framework for disjunctivism about the phenomenology of visual perceptual experience. Disjunctivism of this sort is typically divided into positive and negative disjunctivism. This distinction successfully reflects the disagreement amongst disjunctivists regarding the explanatory status of the introspective indiscriminability of veridical perception and hallucination. However, it is unsatisfactory in two respects. First, it cannot accommodate eliminativism about the phenomenology of hallucination. Second, the class of positive disjunctivism is too coarse-grained to provide an (...) informative overview of the current dialectical landscape. Given this, I propose a classificatory framework which preserves the positive-negative distinction, but which also includes the distinction between eliminativism and non-eliminativism, as well as a distinction between two subclasses of positive disjunctivism. In describing each class in detail, I specify who takes up each position in the existing literature, and demonstrate that this classificatory framework can disambiguate some existing disjunctivist views. (shrink)

The usual visual experiences possess a perspectival phenomenology as they seem to present objects from a certain perspective. Nevertheless, it is not obvious how to characterise experiential content determining such phenomenology. In particular, while there are many works investigating perspectival properties of experienced objects, a question regarding how subject is represented in visual perspectival experiences attracted less attention. In order to address this problem, I consider four popular phenomenal intuitions regarding perspectival experiences and argue that the (...) major theories of perspectival experiences do not account for all of them. Relying on these observations, I show how a theory which accommodates all these intuitions can be developed by (a) recognising that visual perspectival experiences are, in fact, multimodal visuo-bodily experiences and (b) distinguishing between egocentric and structural contents. (shrink)

Not all research in machine consciousness aims to instantiate phenomenal states in artefacts. For example, one can use artefacts that do not themselves have phenomenal states, merely to simulate or model organisms that do. Nevertheless, one might refer to all of these pursuits -- instantiating, simulating or modelling phenomenal states in an artefact -- as 'synthetic phenomenality'. But there is another way in which artificial agents (be they simulated or real) may play a crucial role in understanding or creating consciousness: (...) 'synthetic phenomenology'. Explanations involving specific experiential events require a means of specifying the contents of experience; not all of them can be specified linguistically. One alternative, at least for the case of visual experience, is to use depictions that either evoke or refer to the content of the experience. Practical considerations concerning the generation and integration of such depictions argue in favour of a synthetic approach: the generation of depictions through the use of an embodied, perceiving and acting agent, either virtual or real. Synthetic phenomenology, then, is the attempt to use the states, interactions and capacities of an artificial agent for the purpose of specifying the contents of conscious experience. This paper takes the first steps toward seeing how one might use a robot to specify the non- conceptual content of the visual experience of an (hypothetical) organism that the robot models. (shrink)

Blindsight is a kind of residual vision found in people with lesions to V1. Subjects with blindsight typically report no visual awareness, but they are nonetheless able to make above-chance guesses about the shape, location, color and movement of visual stimuli presented to them in their blind field. A different kind of blindsight, sometimes called type 2 blindsight, is a kind of residual vision found in patients with V1 lesions in the presence of some residual awareness. Type 2 (...) blindsight differs from ordinary visual experience in lacking the particularity, transparency and fine-grainedness often taken to be essential to visual experience, at least in veridical cases. I argue that the case of type 2 blindsight provides a counterexample to the view that these characteristics are essential to veridical visual experience and that this gives us reason to resist the view that visual experience is essentially a perceptual relation to external objects. In the second part of the paper I argue that the case of type 2 blindsight yields important insights into the effects of attentional modulation on perceptual content and that cases of attentional modulation of appearance are not at odds with the view that the phenomenology of visual experience flows from its content. (shrink)

This paper argues that various phenomenological considerations support a non-representational causal account of visual experience. This position claims that visual experiences serve as a non-representational causally efficacious medium for the production of beliefs concerning the external world. The arguments are centered on defending a non-representational causal account’s understanding of the cognitive significance of visual experience. Among other things, such an account can easily explain the inextricable role that background beliefs and conceptual capacities play in perceptually-based (...) external world belief-formation processes, the fact that visual mental states constrain beliefs because of their presentational phenomenology, and the phenomenon known as the transparency of visual experience. (shrink)

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with those objects (...) and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

Ideally, psychological and phenomenological studies of visual experience should be mutually informative. In that spirit, this article outlines parts of Maurice Merleau-Ponty's phenomenological view of visual experience as a kind of independently active opaque bodily synthesis, and uses those views to (a) help ground and extend Alva Noë's rejection of the “snapshot” theory of visual experience in favor of a more enactive view of visual content, (b) critique a failing of Noë's account, and (...) (c) show how the assumptions underlying more internalist and Cartesian views of visual experience can illegitimately creep in even when they are being carefully criticized. (shrink)

It has been claimed that the ability to remember the past and the ability to project oneself into the future are intimately related. We sought support for this proposition by examining whether individual differences in dimensions that have been shown to affect memory for past events similarly influence the experience of projecting oneself into the future. We found that individuals with a higher capacity for visual imagery experienced more visual and other sensory details both when remembering past (...) events and when imagining future events. In addition, individuals who habitually use suppression to regulate their emotions experienced fewer sensory, contextual, and emotional details when representing both past and future events, while the use of reappraisal had no effect on either kind of events. These findings are consistent with the view that mental time travel into the past and into the future relies on similar mechanisms. (shrink)

Judgments of visual resemblance (‘A looks like B’), unlike other judgments of resemblance, are often induced directly by visual experience. What is the nature of this experience? We argue that the visual experience that prompts a subject looking at A to judge that A looks like B is a visual experience of B. After elucidating this thesis, we defend it, using the ‘phenomenal contrast’ method. Comparing our account to competing accounts, we show (...) that the phenomenal contrast between a visual experience that induces the judgment that A looks like B, and a visual experience that does not induce this judgment, is best explained by the fact that the former visually represents B, whereas the latter does not. (shrink)

It has been claimed that the ability to remember the past and the ability to project oneself into the future are intimately related. We sought support for this proposition by examining whether individual differences in dimensions that have been shown to affect memory for past events similarly influence the experience of projecting oneself into the future. We found that individuals with a higher capacity for visual imagery experienced more visual and other sensory details both when remembering past (...) events and when imagining future events. In addition, individuals who habitually use suppression to regulate their emotions experienced fewer sensory, contextual, and emotional details when representing both past and future events, while the use of reappraisal had no effect on either kind of events. These findings are consistent with the view that mental time travel into the past and into the future relies on similar mechanisms. (shrink)

In this report, the phenomenology of two blind users of a sensory substitution device – “The vOICe” – that converts visual images to auditory signals is described. The users both report detailed visual phenomenology that developed within months of immersive use and has continued to evolve over a period of years. This visual phenomenology, although triggered through use of The vOICe, is likely to depend not only on online visualization of the auditory signal but (...) also on the users’ previous (albeit distant) experience of veridical vision (e.g. knowledge of shapes and visual perspective). Once established, the sensory substitution mapping between the auditory and visual domains is not confined to when the device is worn and, thus, may constitute an example of acquired synaesthesia. (shrink)

This paper argues that naïve realism has an epistemic advantage over other rival views. The argument consists of two steps. First, I argue that the phenomenology of veridical visual experience plays an indispensable role in explaining how we can refer to the experience as a justificatory reason for a demonstrative judgment. Second, I argue that only naïve realism can coherently allow a veridical visual experience to be used as a factive reason.

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of (...) art empathetically? What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

Among the exciting prospects raised by advocates of predictive processing [PP] is the offer of a systematic description of our neural activity suitable for drawing explanatory bridges to the structure of conscious experience. Yet the gulf to cross seems wide. For, as critics of PP have argued, our visual experience certainly doesn’t seem probabilistic.While Clark proposes a means to make PP compatible with the experience of a determinate world, I argue that we should not rush to (...) do so. Two notions of determinacy are conflated in the claim that perception is determinate: ‘univocality’ and ‘full detail’. The former, as Clark argues, is only to be expected in any PP agent that models its world for the purpose of acting on it. But as Husserl argued, and as perceptual psychology has borne out, we significantly overestimate the degree of detail with which we perceive a univocal world.This second form of indeterminacy is due not to the probabilistic nature of PP’s model, but rather to its hierarchical structure, with increasingly coarse-grained representations as we move further from the sensory periphery. A PP system may, or may not, deliver a univocal hypothesis at each of these levels. An action-oriented PP system would only be expected to do so only at the level needed for successful action guidance. A naïve reporter’s overestimation of the degree of determinate detail in their visual experience can thereby be accounted for with a more gradual version of the ‘refrigerator light’ effect: we experience determinate details just to the degree that they’re needed – immediately as they’re needed. (shrink)

In a recent paper, ‘Peripersonal perception in action’ (Synthese, 2018), Frédérique de Vignemont tackles the problem of defining what is peculiar to the visual perception of objects falling within the peripersonal space of the observer, i.e. the space immediately surrounding the body, and which is commonly described as the space in which action takes place. In this paper, I first discuss the proposal offered by de Vignemont about what characterizes peripersonal perception. Then, I suggest an extension of this account (...) that offers a meticulous description of the nature of the Content of Peripersonal Visual Experience - a topic never explicitly considered in the philosophical literature on vision - by discussing some peculiar features of it that, as recognized also by de Vignemont’s account, still need to be explained. In particular, I offer a philosophical examination of the specificity of peripersonal visual experience, in relation to its phenomenological dimension, its optical mechanisms and its neurophysiological underpinnings, in the light of our best theories from vision science, and in comparison to the visual experience of other visual spaces. (shrink)

Philosophers tend to assume that we have excellent knowledge of our own current conscious experience or 'phenomenology'. I argue that our knowledge of one aspect of our experience, the experience of visual imagery, is actually rather poor. Precedent for this position is found among the introspective psychologists of the late nineteenth and early twentieth centuries. Two main arguments are advanced toward the conclusion that our knowledge of our own imagery is poor. First, the reader is (...) asked to form a visual image, and it is expected that answering questions about certain basic features of that experience will be difficult. If so, it seems reasonable to suppose that people could be mistaken about those basic features of their own imagery. Second, it is observed that although people give widely variable reports about their own experiences of visual imagery, differences in report do not systematically correlate with differences on tests of skills that psychologists have often supposed to require visual imagery, such as mental rotation, visual creativity, and visual memory. (shrink)

A number of philosophers have held that we visually experience objects’ occluded parts, such as the out-of-view exterior of a voluminous, opaque object. That idea is supposed to be what best explains the fact that we see objects as whole or complete despite having only a part of them in view at any given moment. Yet, the claim doesn’t express a phenomenological datum and the reasons for thinking we do experience objects’ occluded parts, I argue, aren’t compelling. Additionally, (...) I anticipate and reply to attempts to salvage the idea by appeal to perceptual expectation and amodal completion. Lastly, I address potential concerns that the only way to capture the phenomenal character of perceiving voluminous objects is to say experience outstrips what’s in view, providing a description of such experience without any implication of that idea. (shrink)

The article focuses on justifying the relevance of a phenomenological approach to the study of dreams, as well as outlining directions for such research. The author views the experience gained by a person in a dream as something that can be brought into existentia.The article illustrates that although dreams cannot be the object of reflection in real time, they become a moment of consciousness when (and if) they remain in memory. Visually or emotionally vivid dreams can remain in a (...) person’s memory on par with memories of real events. At the same time, a clear distinction is maintained between events from the dream and those that occurred in reality.The author interprets dreams as a component of individual experience and at the same time as an element of the intersubjective world. The intersubjectivity of the dream experience is determined by the universality of certain psychological experiences and bodily experiences associated with sleep and dreaming, as well as by the universality of certain motifs that occur in dreams. The work analyzes the categories of “I”, “Other”, and “Stranger” in the context of dream research. The author concludes that dreams, as a component of experience and an element of the intersubjective world, can serve as a point of intersection of experiences. Thus, through dreams, the I opens up to the Other, resulting in the emergence of new meanings. Dreams are interpreted as a situation where the I discovers the Other and the Stranger within itself. After all, by receiving the text of a dream, the I thereby receives the result of its own unconscious creativity. The author illustrates this process through the metaphor of a message in a bottle that is washed ashore on the island of consciousness by the waves of the eternal tide of the unconscious. The author explores states of consciousness that are somehow related to sleep, namely drowsiness, fantasy, and insomnia. Thus, drowsiness is considered as a borderline state between sleep and wakefulness, fantasy — as a likeness of a dream in reality, and insomnia — as a sharp desire to temporarily free oneself from the burden of existentia. (shrink)

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of (...) an oppositely moving world. To show this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

This paper criticizes the predominant, representational-neurophysicalist conception of sensory perception. It introduces the notion of "experience-field" to give a tentative ontological account of the phenomenological data of experience. The general idea is that visual experience, for instance, would be ontologically something like an experience-field extending over and between the central nervous sistem of the subject of the experience and the distal object of vision. I call this position phenomenological macrorealism, in contrast to scientific microrealism. (...) Phenomenal qualities are not subjectively inside the brain, but objectively inside perceptual extraencephalic experience-fields, or, as we say, out there in the world. Some specific consequences of phenomenological macrorealism are presented.Este artigo critica a concepção predominante, representacionista-neurofisicalista sobre a percepção sensorial. Introduz a noção de "campo-experiência" na tentativa de tratamento ontológico dos dados fenomenológicos da experiência. A idéia geral é que a experiência visual, por exemplo, seria ontologicamente algo assim como um campo-experiência de intencionalidade visual, que se estende por sobre e entre o sistema nervoso central do sujeito da experiência e o objeto distai da visão. Chamo esta posição de macrorrealismo fenomenológico, em contraste com o microrrealismo científico. Qualidades da fenomenalidade não estão subjetivamente dentro do cérebro, mas objetivamente dentro de campos-experiência perceptuais extra-encefálicos, ou, como dizemos, lá fora no mundo. Algumas conseqüências específicas do macrorrealismo fenomenológico são apresentadas. (shrink)

Merleau-Ponty, in his well-known essay, "Eye and Mind," startlingly comments: "A Cartesian does not see himself in the mirror; he sees a dummy, an 'outside,' which, he has every reason to believe, other people see in the very same way but which, no more for himself than for others, is not a body in the flesh." This essay opens up a discourse on this very problem: the question of what one sees when looks at oneself in the mirror. As well, (...) the now-common assumption that we have arrived at a postmodern condition of experience, knowledge, and interpretation comes into question when we consider the possibility that the human sciences have not sufficiently embraced a post-Cartesian perspective on mind, body, self, and vision. The essay closes with a reflection on the contact of the self and the other in vision. The self and the other are not "signs" that are "read" in the context of a perceptual field. Rather, the interpersonal world embodied through the vital flesh of self in communion with other is reflected to the eye only if the observer cares to take note, to imaginatively flesh-out the world embodied in the moment of a thoughtful glance. (shrink)

Psychogenic depersonalization is an altered mental state consisting of an unusual discontinuity in the phenomenological perception of personal being; the individual is engulfed by feelings of unreality, self-detachment and unfamiliarity in which the self is felt to lack subjective perspective and the intuitive feeling of personal embodiment. A new sub-feature of depersonalization is delineated. 'Prosthesis' consists in the thought that the thinker is a 'mere thing'. It is a subjectively realized sense of the specific and objective 'thingness' of the particular (...) object thought about. I show that prosthesis is an important cognitive feature of depersonalization, and may be psychologically connected with the tendency of depersonalized individuals to report 'philosophical' types of thinking. Indeed, several philosophical issues concerning the identity of the self appear to have been enhanced by prosthesis experiences. Thus, far more efficient than William James's experimental attempts to uncover philosophical truths under the influence of nitrous oxide intoxication, prosthesis may be a safe and recommended experience for philosophers. The history of depersonalization theories is presented from Krishaber to Freud, and the main approaches to prosthesis criticized. Finally, a fresh approach to psychogenic depersonalization is outlined on the basis of certain cognitive similarities with visual agnosia. This paper may be understood as continuing the Jamesian tradition 'experimental abnormal psychology', that is, of examining extraordinary mental states with an eye to their philosophical implications. (shrink)

Ordinary human perceivers know that visual objects are perceivable from standpoints other than their own. The aim of this paper is to provide an explanation of how perceptual experience equips perceivers with this knowledge. I approach the task by discussing a variety of action-based theories of perception. Some of these theories maintain that standpoint transcendence is required for shape perception. I argue that this standpoint transcendence must take place in the phenomenal present and that it can be explained (...) in terms of the experience of perceivers who jointly attend to an object. Joint perceivers experience objects as being perceived from standpoints other than their own. They operate in what I call “social space”, in which they single out objects by triangulating targets’ locations relative to their co-perceivers’ standpoints on these targets. It is then possible to explain the public character of the objects of individual experience by appeal to what I call “public space”. This is a spatial framework whose locations are presented as standpoints whence joint attention to the target would ensue, were they occupied by co-perceivers. If shape perception requires standpoint transcendence, then shape perceivers operate in public space and are thus capable of singling out targets by triangulating their locations from standpoints other than their own. If it doesn’t, then the introduction of a public spatial framework is an additional step whose introduction explains how perceivers come to experience objects as perceivable from standpoints other than their own. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize (...) the world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Visual space can be distinguished from physical space. The first is found in visual experience, while the second is defined independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non-Euclidean, and that it does not have a single metric structure. Here it is argued that visual space exhibits contraction in all three dimensions with increasing distance from the observer, that experienced features of this contraction (...) are not the same as would be the experience of a perspective projection onto a fronto-parallel plane, and that such contraction is consistent with size constancy. These properties of visual space are different from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal correspondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. (shrink)

This paper sketches a phenomenological analysis of visual mental imagery and uses it to criticize representationalism and the internalist-versus-externalist framework for understanding consciousness. Contrary to internalist views of mental imagery imagery experience is not the experience of a phenomenal mental picture inspected by the mind’s eye, but rather the mental simulation of perceptual experience. Furthermore, there are experiential differences in perceiving and imagining that are not differences in the properties represented by these experiences. Therefore, externalist representationalism, (...) which maintains that the properties of experience are the external properties represented by experience, is an inadequate account of conscious experience. (shrink)

In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses (...) class='Hi'>visual experience as being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously. (shrink)

Anxiety has been associated with enhanced unconscious processing of threat and attentional biases towards threat. Here, we focused on the phenomenology of perception in anxiety and examined whether threat-related material more readily enters anxious than non-anxious individuals’ awareness. In six experiments, we compared the stimulus exposures required for each anxiety group to become objectively or subjectively aware of masked facial stimuli varying in emotional expression. Crucially, target emotion was task irrelevant. We found that high trait-anxiety individuals required less sensory (...) evidence to become aware of the face targets. This anxiety-based difference was observed for fearful faces in all experiments, but with non-threat faces, it emerged only when these were presented among threatening faces. Our findings suggest a prominent role for affective context in high-anxiety individuals’ conscious perception of visual stimuli. Possible mechanisms underlying the influence of context in lowering awareness thresholds in anxious individuals are discussed. (shrink)

The neurological discovery of mirror neurons is of eminent importance for the phenomenological theory of intersubjectivity. G. Rizzolatti and V. Gallese found in experiments with primates that a set of neurons in the premotor cortex represents the visually registered movements of another animal. The activity of these mirror neurons presents exactly the same pattern of activity as appears in the movement of one's own body. These findings may be extended to other cognitive and emotive functions in humans. I show how (...) these neurological findings might be “translated” phenomenologically into our own experienced sensations, feelings and volitions. (shrink)

To introduce this collection of research studies, which stem from the pro grams conducted by The World Phenomenology Institute, we need say a few words about our aims and work. This will bring to light the significance of the present volume. The phenomenological philosophy is an unprejudiced study of experience in its entire range: experience being understood as yielding objects. Experi ence, moreover, is approached in a specific way, such a way that it legitima tizes itself naturally (...) in immediate evidence. As such it offers a unique ground for philosophical inquiry. Its basic condition, however, is to legitimize its validity. In this way it allows a dialogue to unfold among various philosophies of different methodologies and persuasions, so that their basic assumptions and conceptions may be investigated in an objective fashion. That is, instead of comparing concepts, we may go below their differences to seek together what they are meant to grasp. We may in this way come to the things them selves, which are the common objective of all philosophy, or what the great Chinese philosopher Wang Yang Ming called "the investigation of things". It is in this spirit that the Institute's programs include a "cross-cultural" dialogue meant to bring about a profound communication among philosophers in their deepest concerns. Rising above artificial cultural confinements, such dialogues bring scholars, thinkers and human beings together toward a truly human community of minds. Our Institute unfolds one consistent academic program. (shrink)

Phenomenal objectivism explains perceptual phenomenal character by reducing it to an awareness of mind-independent objects, properties, and relations. A challenge for this view is that there is a sense in which a distant tree looks smaller than a closer tree even when they are the same objective size (perceptual size variation). The dual content view is a popular objectivist account in which such experiences are explained by my objective spatial relation to the tree, in particular visual angle (perspectival size). (...) I describe a series of first-person experiments for investigating size experience. I use a ruler as a first-person method for operationalising perspectival size (Experiment 1). I use the corridor illusion (Experiment 2), outlining one’s head in the mirror (Experiment 3), and outlining the size of objects on glass (Experiment 4) to show a phenomenal difference in size for items in different depth contexts, despite being identical in visual angle. These finding demonstrate that visual angle cannot account for these spatial experiences. Psychological evidence provides further support for the thesis that subjects do not experience visual angle when depth information is present. Together this evidence supports the hypothesis that perceptual size variation cannot be accounted for by visual angle, hence undermining a plausible version of the dual content theory. This outcome, combined with problems raised by alternative objectivist accounts of size variation, provides support for a subjectivist account of size experience. (shrink)

By means of Vivian Sobchack’s semiotic film phenomenology, we may examine our immediate perceptual acts in film experience in order to determine the ways that the primordial language of embodied existence found at this primary level grounds the secondary level of the more explicit interpretations we give to the film’s elements. Although Gilles Deleuze is openly defiant toward the phenomenological tradition, his studies of film experience can serve this purpose as well, because he is interested in the (...) direct and pre-verbal significance of cinematic images. To bring his observations more fruitfully into film phenomenological studies, I will examine his notion of the discordantly operating body and offer a phenomenological interpretation for his notion of cinematic signs. I then apply this Deleuzian semiotic film phenomenology to his analysis of deep focus cinematography in Orson Welles’ Citizen Kane. When watching one particular scene, different layers of our film experience, namely, those of visual and of temporal depth, collide in such a way that they provide the phenomenal basis for us to produce a temporal interpretation of the spatial relations held between the displayed images. (shrink)

In recent years there has been an increasing focus on a crucial aspect of the ‘meeting of minds’ problem :160–165, 2013), namely the ability that human beings have for sharing different types of mental states such as emotions, intentions, and perceptual experiences. In this paper I examine what counts as basic forms of ‘shared experiences’ and focus on a relatively overlooked aspect of human embodiment, namely the fact that we start our journey into our experiential life within the experiencing body (...) of a second person, i.e. our mothers. For example, Zahavi and Rochat recently draw on phenomenological insights and developmental studies in order to support the idea that empathy must be considered a central precondition for experiential sharing. Here I suggest that the defence of the primacy of empathy over experiential sharing might reveal how we are often mislead in our understanding of more basic forms of shared experiences. I argue that while previous approaches mainly defined experiential sharing by using the case of visual experience as a paradigmatic example of ‘togetherness’, it is fruitful to consider the case of pregnancy and intersubjective touch in early infancy as a more basic model of experiential sharing in general. I conclude that shared experiences are phenomena emerging first and foremost from a ‘meeting of bodies’ rather than of minds and as such they precede rather than presuppose empathetic abilities. (shrink)

In the not-too-distant past, vision was often said to involve three levels of processing: a low level concerned with descriptions of the geometric and photometric properties of the image, a high level concerned with abstract knowledge of the physical and semantic properties of the world, and a middle level concerned with anything not handled by the other two. The negative definition of mid-level vision contained in this description reflected a rather large gap in our understanding of visual processing: How (...) could the here-and-now descriptions of the low levels combine with the enduring knowledge of the high levels to produce our perception of the surrounding world? A number of experimental and theoretical efforts have been made over the past few decades to solve this "mid-level crisis". One of the more recent of these is based on the phenomenon of change blindness—the difficulty in seeing a large change in a scene when the transients accompanying that change no longer convey information about its location (Rensink, O'Regan, & Clark, 1997; Rensink, 2000a). Phenomenologically, this effect is quite striking: the change typically is not seen for several seconds, after which it suddenly snaps into awareness. During the time the change remains "invisible", there is an apparent disconnection of the low-level descriptions (which respond to the change) from subjective visual experience (which does not). As such, this effect would seem to have the potential to help us understand how mid-level mechanisms might knit low- and high-level processes into a coherent representation of our surroundings. -/- It is argued here that this potential can indeed be realized, and that change blindness can teach us much about the nature of mid-level vision.3 A number of studies are first reviewed showing that the perception of a scene does not involve a steady buildup of detailed representation: rather, it is a dynamic process, with focused attention playing one of the main roles, viz., forming coherent object representations whenever needed. It is then argued that change blindness can also shed considerable light on the nature of focused attention itself, such as its speed, capacity, selectivity, and ability to bind together visual properties into coherent structures. (shrink)

The main contention of this paper is that, just as there is something it is like to smell a rose, taste chocolate, and hear a siren, there is something it is like to perform an action. In other words, I will argue that we ought to recognize, alongside these other familiar forms of phenomenology, a distinctive phenomenology of agency. My claim is not simply that there is some subjective experience that attaches to the performance of actions. No (...) one disputes that action is typically accompanied by a range of kinaesthetic and visual experiences, and often preceded by conscious thoughts about what to do. The position I wish to defend, rather, is that there is a proprietary phenomenology or subjective character associated with action that “goes beyond” (Horgan et al. 2003, p. 323) these familiar types of sensory and cognitive experience (for other treatments of this topic, see Horgan 2007; Bayne and Levy 2006; Bayne 2008; Pacherie 2008; Kriegel 2015; Shepherd 2017). (shrink)

​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and (...) semiotic capacities. The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general. (shrink)

The paper proposes a way of bridging the gapbetween physical processes in the brain and the ''''felt''''aspect of sensory experience. The approach is based onthe idea that experience is not generated by brainprocesses themselves, but rather is constituted by theway these brain processes enable a particular form of''''give-and-take'''' between the perceiver and theenvironment. From this starting-point we are able tocharacterize the phenomenological differences betweenthe different sensory modalities in a more principledway than has been done in the past. We (...) are also ableto approach the issues of visual awareness andconsciousness in a satisfactory way. Finally weconsider a number of testable empirical consequences,one of which is the striking prediction of thephenomenon of ''''change blindness''''. (shrink)

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

Are kind properties presented to us in visual experience? I propose an account of kind recognition that incorporates two conflicting intuitions: Kind properties a...

This chapter addresses Immanuel Kant and the potential impasse of any philosophical account of religious experience. Various attempts within phenomenology are explored to broaden the notion of givenness and evidence beyond the parameters of object-givenness. Then, the chapter deals with a phenomenology of religious experience as an irreducible sphere of human experience, and its unique style of evidence and modalisations. For Kant, experience is limited to one mode of givenness in which objects of knowledge (...) are actively constituted with the direct implication that one cannot meaningfully speak of a religious experience. The recognition of the different quality of givenness in religious experience implicated the significant matter of religious evidence. (shrink)

The phenomenology of controlled action depends on comparisons between predicted and actually perceived sensory feedback called action-effects. We investigated if intervening task-irrelevant but semantically related information influences monitoring processes that give rise to a sense of control. Participants judged whether a moving box “obeyed” or “disobeyed” their own arrow keystrokes or visual cues representing the computer’s choices . During 1 s delays between keystrokes/cues and box movements, participants vocalized directions cued by letters inside the box. Congruency of cued (...) vocalizations was manipulated relative to previously selected keystrokes and upcoming box movements. In Experiment 1, reported obey moves and feelings of control reflected the true frequency of obey moves, but were also modulated by vocalizations. Incongruent vocalizations reduced reported obey moves, whereas congruent vocalizations increased them. In Experiment 2, vocalizations had stronger effects when their congruence with primary-task box movement was consistent for several consecutive moves before congruence changed. In Experiment 3, analogous impacts of vocalizations occurred when the computer selected the directions and participants judged whether the computer had control of the box. We conclude that predicted and perceived action-effects associated with semantically related but separate and ostensibly irrelevant actions can be conflated with one another. This interference is not restricted to actions performed with the same effector or within the same modality, or even by the same actor. Thus in estimating degrees of control, the mind integrates across ongoing action systems, whether or not they are logically task-relevant. (shrink)

: Faraday is often described as an experimentalist, but his work is a dialectical interplay of concrete objects, visual images, abstract, theoretically-informed visual models and metaphysical precepts. From phenomena described in terms of patterns formed by lines of force he created a general explanation of space-filling systems of force which obey both empirical laws and principles of conservation and economy. I argue that Faraday's articulation of situated experience via visual models into a theory capable of verbal (...) expression owed much to his strategy of moving—via conjectural visual models—between the phenomenology of particulars (often displayed as patterns) and the general features of dynamical phenomena which he depicted as structures. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as (...) richly spatial as visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in (...) the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer. (shrink)

Contemporary theories of self-consciousness typically begin by dividing experiences of the self into types, each requiring separate explanation. The stereotypical case of an out of body experience may be seen to suggest a distinction between the sense of oneself as an experiencing subject, a mental entity, and a sense of oneself as an embodied person, a bodily entity. Point of view, in the sense of the place from which the subject seems to experience the world, in this case (...) is tied to the sense of oneself as a mental entity and seems to be the ‘real’ self. Closer reading of reports, however, suggests a substantially more complicated picture. For example, the ‘real’ self that is experienced as separate from the body in an OBE is not necessarily experienced as disembodied. Subjects may experience themselves as having two bodies. In cases classed as heautoscopy there is considerable confusion regarding the apparent location of the experiencing subject; is it the ‘real mind’ in the body I seem to be looking out from, or is it in the body that I see? This suggests that visual point of view can dissociate from the experience of one’s own “real mind” or experience of self-identification. I provide a tripartite distinction between the sense of ownership, the sense of embodiment and the sense of subjectivity to better describe these experiences. The phenomenology of OBEs suggests that there are three distinct forms of self-consciousness which need to be explained. (shrink)

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that (...) phenomenological argumentation can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible. (shrink)