This paper addresses the question of what the attitude of hope consists in. We argue that shortcomings in recent theories of hope have methodological roots in that they proceed with little regard for the rich body of literature on the emotions. Taking insights from work in the philosophy of emotions, we argue that hope involves a kind of normative perception. We then develop a strategy for determining the content of this perception, arguing that hope is a perception of practical reasons. (...) Our proposal stands in contrast with familiar views on which hope is fundamentally about the good. We conclude by considering the increasingly popular idea that some hopes are non-intentional and thus, by implication, non-perceptual. We reply by arguing that our perceptual theory plausibly generalizes to these instances of hope. (shrink)

The goal of this paper is to offer a new theory of moods, according to which moods are perceptual experiences that represent undetermined objects as possessing specific evaluative properties. I start by listing a series of features that moods are typically taken to possess and claim that a satisfactory theory of moods must be able either to explain why moods genuinely possess these features or to explain these appearances away in a non-ad hoc way. I show that (...) my account provides a plausible explanation of all the main features of moods. I conclude by addressing some objections against my account. (shrink)

The essential logical deficiency of the perceptual theory of pain, as I tried to show in my paper,1 is that feeling pain cannot be perceiving anything. The conceptual framework that would make it possible for us to understand “feel” in this use to be a perception concept does not exist. The concept of a glimpse, which George Pitcher relies upon to supply this framework,2cannot begin to do so because it is a secondary perception concept entirely dependent upon that (...) of seeing. This primary concept of visual perception is tied up with actions and supporting concepts like looking, glancing, gazing, glimpsing, watching, and the like. These are different ways in which one's visual perceiving may be characterized. Without the primary concept and the actions connected with it, there would be nothing to characterize. The word “feel” in contexts involving pain is not a perception concept and efforts to make it one are doomed to fail. The supporting actions and concepts do not exist. (shrink)

Gut Reactions is an interdisciplinary defense of the claim that emotions are perceptions of changes in the body.

According to the perceptual theory of introspection, introspection is a kind of perception of our mental life. To evaluate the perceptual theory’s plausibility, we obviously need to know what entitles a mental phenomenon to the qualification “perceptual.” I start by arguing that this task is complicated by the fact that we really have two notions of the perceptual: a functional notion and a phenomenological notion. The heart of the chapter is an argument that even (...) if we have no reason to think that introspection is a kind of perception in the functional sense, we do have strong reasons to think it is a kind of perception in the phenomenological sense. In the phenomenological sense, I argue, two features are central to a phenomenon’s status as perceptual: its involving direct awareness of the perceived, and its taking a distinctively perceptual attitude toward it. The bulk of the chapter consists in (i) an argument from inference to the best explanation for the thesis that introspection involves direct awareness of the introspected, and (ii) a more direct argument that introspection involves an attitude almost identical to the attitude distinctive of sensory perception. The chapter then closes with responses to some of the standard objections to the perceptual theory. (shrink)

Misperception is part of the human condition. Consider a classic case of coming to confirm that one has had a misperception. On a stroll through the woods you see, in the distance, what seems to be a person. As you draw near, what looked like a person now appears to be a wooden post with a hat on it. On arrival you touch the post to confirm that it is not a person. From a pre-theoretical perspective, what has happened? On (...) your approach you judged that there was a person, based on what you saw. When near, you judged that it was a post and not a person, and then by touch you confirmed that what you initially saw was a misperception.In examining cases of misperception it is important to ask: what role does concept .. (shrink)

We attempt to resolve some details of Barsalou's theory. (1) The mechanism that guides selection of perceptual information may be the efferent control of activity. (2) Information about a world that is not accessible to the senses can be constructed in the process of semiotic mediation. (3) Introspection may not be a kind of perception; rather, semiotically mediated information processing might be necessary for the emergence of introspection.

The distinction between cognitive and perceptual theories of emotion is entrenched in the literature on emotion and is openly used by individual emotion theorists when classifying their own theories and those of others. In this paper, I argue that the distinction between cognitive and perceptual theories of emotion is more pernicious than it is helpful, while at the same time insisting that there are nonetheless important perceptual and cognitive factors in emotion that need to be distinguished. A (...) general representational metatheoretical framework for reconciling cognitive and perceptual theories is proposed. This is the Representational Theory of Emotion (RTE). A detailed case study of Antonio Damasio's important new contribution to emotion theory is presented in defense of the RTE. The paper is intended for readers interested in the foundations of emotion theory and cognitive science. (shrink)

Theories that make action central to perception are plausible, though largely untried, for space perception. However, explaining object recognition, and high-level perception generally, will require reference to representations of the world in some form. Nonetheless, action is central to cognition, and explaining high-level perception will be aided by integrating an understanding of action with other aspects of perception.

The present study focuses on the word ‘Kun’ from Quran. In this paper, the discourse of Quran and the conceptual ayah of ‘Kun’ is discussed with reference to exegetical context, the perceptual theory of creation and the reality of the relentless evolution of ‘Kun’ and its possible hermeneutics. The recognition of the ‘intention’ of God has to be unveiled in order to understand the theory of ‘Kun’ and the idea of Creation. The three dimensional design of ‘Kun’ (...) can be seen in the Quran as: the intention of ‘Kun’, when the creation exists in the intention of God; the imagination of God about ‘Kun’, which is the second stage and is related to the imaginable state of the ‘essence’ of ‘Kun’; the final stage refers to the ‘saying’ of ‘Kun’ by God, which unveils the intention of God. The relentless evolution is the reality that every time God says ‘Kun’, it discloses itself with unique creation. The relentless evolution in the perceptual theory of creation of ‘kun’ connects it with the theory of expansion of the cosmos and its evolution. The uniqueness of ‘Kun’ is unveiled in transcendence and immanence through the infinity Himself. (shrink)

This paper argues that Deonna and Teroni's attitudinal theory of emotions faces two serious problems. The first is that their master argument fails to establish the central tenet of the theory, namely, that the formal objects of emotions do not feature in the content of emotions. The second is that the attitudinal theory itself is vulnerable to a dilemma. By pointing out these problems, our paper provides indirect support to the main competitor of the attitudinal theory, (...) namely, the perceptual theory of emotions. (shrink)

What is it about art that can be so captivating? How is it that we find value in the often odd and abstract objects and events we call artworks? William P. Seeley proposes that artworks are attentional engines. They are artifacts that have been intentionally designed to direct attention to critical stylistic features that reveal their point, purpose, or meaning. In developing this view, Seeley argues that there is a lot we can learn about the value of art from interdisciplinary (...) research focused on our perceptual engagement with artworks. Recent breakthroughs in cognitive science and behavioral science can explain how we recognize artworks and how we differentiate them from more quotidian artifacts. Seeley pushes this line of reasoning, showing how cognitive science can help reveal the way artworks function as a unique source of value. Cognitive systems integrate this information into our experience of art, guiding attention and shaping what we perceive. Our understanding and appreciation of artworks is therefore carried in our perceptual experience of them. -/- Attentional Engines explores the pitfalls and potential of this interdisciplinary strategy for understanding art. It articulates a cognitivist theory of art grounded in perceptual psychology and neuroscience and demonstrates its application to a range of puzzles in the philosophy of the arts. This includes questions about the nature of depiction, the role played by metakinesis in dance appreciation, the nature of musical expression, and the power of movies. The provocative interdisciplinary theories Seeley presents will appeal to scholars and students interested in aesthetics, philosophy of mind, philosophy of art, cognitive science, and anyone with a burning curiosity about how artworks work. (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)

A number of philosophers have offered quasi-perceptual theories of desire, according to which to desire something is roughly to “see” it as having value or providing reasons. These are offered as alternatives to the more traditional Humean Theory of Motivation, which denies that desires have a representational aspect. This paper examines the various considerations offered by advocates to motivate quasi-perceptualism. It argues that Humeanism is in fact able to explain the same data that the quasi-perceptualist can explain, and (...) in one case the Humean explanation is superior. Quasi-perceptual accounts of desire, the paper concludes, are for the most part unmotivated. (shrink)

This essay raises a challenge for the perceptual theory of emotion. According to the perceptual theory, emotions are perceptual states that represent values. But if emotions represent values, something should explain why. In virtue of what do emotions represent the values they do? A psychosemantics would answer this, and that’s what the perceptual theorist owes us. To date, however, the only perceptual theorist to attempt a psychosemantics for emotion is Jesse Prinz. And Prinz’s (...) theory, I argue, faces an important difficulty: It makes the pairing of any given emotion with its respective value entirely arbitrary. But that’s a problem. It seems—and this is a major contention of this essay—that an emotion, in virtue of how it feels, bears a natural or non-arbitrary link to the value it represents. And this datum makes it all the more difficult to provide a viable psychosemantics for the evaluative content of emotion. (shrink)

Perception is the apprehension of the relatedness of things with reference to a particular space and time framework. The relatedness of things is revealed through action. As a result of the effectiveness of actions the individual builds a pattern of unconscious assumptions. This assumptive world at any particular time determines the individual's perceptions. Constancy behavior is defined as the attempt to maintain a world which deviates as little as possible from the world one has experienced in the past, which is (...) the only world one knows, and which offers one the best chance of acting effectively. (shrink)

Perception is riddled with cases of reliable misperception. These are cases in which a perceptual state is tokened inaccurately any time it is tokened under normal conditions. On the face of it, this fact causes trouble for theories that provide an analysis of perceptual content in non-semantic, non-intentional, and non-phenomenal terms, such as those found in Millikan (1984), Fodor (1990), Neander (2017), and Schellenberg (2018). I show how such theories can be extended so that they cover such cases (...) without giving up their core commitments. (shrink)

Empirical assessments of Cognitive Behavioral Theory and theoretical considerations raise questions about the fundamental theoretical tenet that psychological disturbances are mediated by consciously accessible cognitive structures. This paper considers this situation in light of emotion theory in philosophy. We argue that the “perceptual theory” of emotions, which underlines the parallels between emotions and sensory perceptions, suggests a conception of cognitive mediation that can accommodate the observed empirical anomalies and one that is consistent with the dual-processing models (...) dominant in cognitive psychology. (shrink)

The term ‘recalcitrant emotions’ refers to those cases where we feel an emotion that apparently contradicts our better judgements. For instance, one may be afraid of flying while claiming not to believe that it is dangerous. This phenomenon is commonly conceived as an objection to cognitivism, according to which emotions are based on the subject's beliefs, insofar as it would force us to ascribe to the subject who feels them an excessive degree of irrationality, comparing recalcitrant emotions to contradictory beliefs. (...) For this reason, many philosophers have developed perceptual theories which describe emotions as forms of perception, allowing us to explain recalcitrant emotions without attributing to the subject contradictory beliefs, treating them as perceptual illusions. Facing the most compelling of these attempts, the article shows that perceptual accounts fail to explain in what sense recalcitrant emotions (and people who feel them) are irrational, keeping the comparison with optical illusions, which are not. Having rebutted three popular perceptual proposals, I conclude that the analogy between emotions and perceptions is flawed and that the appeal of these theories lies on a surreptitious shift in the meaning of the term ‘perceive’. (shrink)

The author argues that the theory of a dorsal/ventral stream for visual processing can be used to reconcile the constructivist and direct perception theories. My commentary discusses neurophysiological and psychophysical studies that run counter to the view. In addition, the central issue of debate between the constructionist and direct perception approaches regarding what is visual information is discussed.

The Interdisciplinary Handbook of Perceptual Control Theory brings together the latest research, theory, and applications from W. T. Powers' Perceptual Control Theory (PCT) that proposes that the behavior of a living organism lies in the control of perceived aspects of both itself and its environment. Sections cover theory, the application of PCT to a broad range of disciplines, why perceptual control is fundamental to understanding human nature, a new way to do research on (...) brain processes and behavior, how the role of natural selection in behavior can be demystified, how engineers can emulate human purposeful behavior in robots, and much more. Each chapter includes an author biography to set the context of their work within the development of PCT. Presents case studies that show how PCT can be applied in different disciplines Illustrates the Test for the Controlled Variable (TCV) and the construction of functional models as fruitful alternatives to mainstream experimental design when studying behavior Shows how theory illuminates structure and functions in brain anatomy Compares and contrasts PCT with other contemporary, interdisciplinary theories. (shrink)

This chapter presents the perceptual reality monitoring theory of consciousness (PRM). PRM is a higher-order theory of consciousness. It holds that consciousness involves monitoring the reliability of one’s own sensory signals. I explain how a perceptual reality monitoring mechanism computes the higher order representations that are crucial for consciousness. While PRM accounts for the difference between conscious and unconscious states, it does not explain, on its own, why experiences feel the way they do—the phenomenal character of (...) experience. PRM is compatible with multiple theories of phenomenal character. Here, I show how to combine it with ‘Mental Quality Space’ theory. I finish by presenting empirical evidence for PRM, as well as some of its predictions. (shrink)

Objects are central in visual, auditory, and tactual perception. But what counts as a perceptual object? I address this question via a structural unity schema, which specifies how a collection of parts must be arranged to compose an object for perception. On the theory I propose, perceptual objects are composed of parts that participate in causally sustained regularities. I argue that this theory falls out of a compelling account of the function of object perception, and illustrate (...) its applications to multisensory perception. I also argue that the account avoids problems faced by standard views of visual and auditory objects. (shrink)

We address the thesis recently proposed by Andy Clark, that skill-mediated access to modality implies phenomenal feel. We agree that a skill theory of perception does indeed offer the possibility of a satisfactory account of the feel of perception, but we claim that this is not only through explanation of access to modality but also because skill actually provides access to perceptual property in general. We illustrate and substantiate our claims by reference to the recently proposed 'sensorimotor contingency' (...) theory of visual awareness. We discuss why this theory offers a distinctively attractive access-based approach to perceptual consciousness because it 'dereifies' experience and permits otherwise problematic aspects of phenomenal perceptual consciousness to be explained. We suggest our approach thus offers the prospect of 'naturalizing phenomenology'. (shrink)

The paper presents a new theory of perceptual demonstrative thought, the property-dependent theory. It argues that the theory is superior to both the object-dependent theory (Evans, McDowell) and the object-independent theory (Burge).

A theory is proposed that views emotional feelings as pivotal for action control. Feelings of emotions are valued interoceptive signals from the body that become multimodally integrated with perceptual contents from registered and mentally simulated events. During the simulation of a perceptual change from one event to the next, a conative feeling signal is created that codes for the wanting of a specific perceptual change. A wanted perceptual change is weighted more strongly than alternatives, increasing (...) its activation level on the cognitive level and that of associated motor structures that produced this perceptual change in the past. As a consequence, a tendency for action is generated that is directed at the production of the wanted perception. (shrink)

Disjunctivist views in the theory of perception hold that genuine perceptions differ in some relevant kind from misperceptions, such as illusions and hallucinations. In recent papers, Tyler Burge has argued that such views conflict with the basic tenets of perceptual psychology. According to him, perceptual psychology is committed to the view that genuine perceptions and misperceptions produced by the same proximal stimuli must be or involve perceptual states of the same kind. This, he argues, conflicts with (...) disjunctivism. In this paper, I defend epistemological disjunctivism from Burge’s inconsistency charge. To this end, I survey the perceptual psychological literature, and reveal that the perceptual kinds they tend to employ differ from and imply nothing about the kinds at issue for the epistemological disjunctivist. I then argue that Burge’s concerns with epistemological disjunctivism are best interpreted as motivated not by his commitment to empirical science, but instead by his views in epistemology and about human rationality. (shrink)

Over the centuries the nature of erroneous perception has been thoroughly discussed by Indian philosophers of nearly every school. This text aims to pursue important issues in the discussion of perceptual error. It sheds light on why Indian philosophers devoted so much attention to the problem of erroneous perception but also on why the ontological status of the object of error became such an important issue. The result is a history of the interactions among rival theories of perceptual (...) error. (shrink)

Perceptual learning can be defined as practice-induced improvement in the ability to perform specific perceptual tasks. We previously proposed the Reverse Hierarchy Theory as a unifying concept that links behavioral findings of visual learning with physiological and anatomical data. Essentially, it asserts that learning is a top-down guided process, which begins at high-level areas of the visual system, and when these do not suffice, progresses backwards to the input levels, which have a better signal-to-noise ratio. This simple (...) concept has proved powerful in explaining a broad range of findings, including seemingly contradicting data. We now extend this concept to describe the dynamics of skill acquisition and interpret recent behavioral and electrophysiological findings. (shrink)