While shaping and defending a criterion to individuate the sensory modalities, philosophers have to deal with groups of perceptual states that don’t fit into the catalogue of the senses comfortably. I call these groups «grey areas». In this paper, I present the «artificial grey area», which is about perceptions obtained through artificial devices that replace or augment one’s sensory abilities. More precisely, the spotlight is on the results that the experiential criterion, (...) the experiential-ontological criterion and the subtractive criterion provide when artificially-assisted perceptions fall under their scope. The main theses of the paper are that each sensory device allows users to access a peculiar sensory world, and that each of these worlds should be associated with a peculiar, independent sensory modality. (shrink)

Block (Trends Cogn Sci 7:285–286, 2003) and Prinz (PSYCHE 12:1–19, 2006) have defended the idea that SSD perception remains in the substituting modality (auditory or tactile). Hurley and Noë (Biol Philos 18:131–168, 2003) instead argued that after substantial training with the device, the perceptual experience that the SSD user enjoys undergoes a change, switching from tactile/auditory to visual. This debate has unfolded in something like a stalemate where, I will argue, it has become difficult to determine whether the perception acquired (...) through the coupling with an SSD remains in the substituting or the substituted modality. Within this puzzling deadlock two new approaches have been recently suggested. Ward and Meijer (Conscious Cogn 19:492–500, 2010) describe SSD perception as visual-like but characterize it as a kind of artificially induced synaesthesia. Auvray et al. (Perception 36:416–430, 2007) and Auvray and Myin (Cogn Sci 33:1036–1058, 2009) suggest that SSDs let their users experience a new kind of perception. Deroy and Auvray (forthcoming) refine this position, and argue that this new kind of perception depends on pre-existing senses without entirely aligning with any of them. So, they have talked about perceptual experience in SSDs as going "beyond vision". In a similar vein, MacPherson (Oxford University Press, New York, 2011a) claims that “if the subjects (SSD users) have experiences with both vision-like and touch-like representational characteristics then perhaps they have a sense that ordinary humans do not” (MacPherson in Oxford University Press, New York, 2011a, p. 139). (shrink)

Many philosophers use findings about sensory substitution devices in the grand debate about how we should individuate the senses. The big question is this: Is “vision” assisted by (tactile) sensory substitution really vision? Or is it tactile perception? Or some sui generis novel form of perception? My claim is that sensory substitution assisted “vision” is neither vision nor tactile perception, because it is not perception at all. It is mental imagery: visual mental imagery triggered (...) by tactile sensory stimulation. But it is a special form of mental imagery that is triggered by corresponding sensory stimulation in a different sense modality, which I call “multimodal mental imagery.”. (shrink)

When a user integrates a sensory substitution device into her life, the process involves perceptual learning, that is, ‘relatively long-lasting changes to an organism’s perceptual system that improve its ability to respond to its environment’ (Goldstone 1998: 585). In this paper, I explore ways in which the extensive literature on perceptual learning can be applied to help improve sensory substitution devices. I then use these findings to answer a philosophical question. Much of the philosophical debate surrounding (...) sensory substitution devices concerns what happens after perceptual learning occurs. In particular, should the resultant perceptual experience be classified in the substituted modality (as vision), in the substituting modality (as auditory or tactile), or in a new sense modality? I propose a novel empirical test to help resolve this philosophical debate. (shrink)

It is hoped that modern sensory substitution and augmentation devices will be able to replace or expand our senses. But to what extent has this been achieved to date? To what extent are the experiences created by sensory substitution devices like the sensory experiences that we are trying to replace? To what extent can we augment people’s senses providing them with new information and new experiences? The first aim of this introduction is to delve deeply (...) into this question to discover the usefulness of these devices, to outline the different sorts of experience that might be created, and what the evidence tells us about these experiences. While there are some reasons to be hopeful about the powers of sensory substitution devices, there are also reasons to wonder whether they will ever really have the practical applications that we hope they might have. The second aim is to look to see whether the study of modern sensory substitution and augmentation devices can shed light on the nature of our senses and perception in general. Much of the philosophical, psychological, and neuroscientific work that takes place concerning sensory substitution and augmentation is keenly aware of the possibility that it might help our understanding and it seeks to comprehend many different aspects of perception. (shrink)

One of the central limitations of sensory substitution devices (SSDs) is their inability to reproduce the non-sensory feelings that are normally associated with visual experiences, especially hedonic and aesthetic responses. This limitation is sometimes reported to cause SSD users frustration. To make matters worse, it is unclear that improvements in acuity, bandwidth, or training will resolve the issue. Yet, if SSDs are to actually reproduce visual experience in its fullness, it seems that the reproduction of non-sensory (...) feelings will be of some importance. We offer a novel solution. Researchers can produce hedonic and aesthetic responses by eliciting these feelings artificially, pairing distal objects that should be pleasurable to pleasurable stimulus outputs from the SSD. We outline two strategies for accomplishing this: first, by means of a prefixed, hardwired, association of pleasant distal objects to pleasant stimulus outputs from the SSD; second, by means of a flexible, feedback-based association which creates associations based on a subject-directed matching of distal objects to patterns of stimuli from the SSD which the subject takes to have the corresponding hedonic properties. We evaluate some problems with both strategies, and we argue that the feedback-based strategy is more promising. Researchers can use this strategy to help the blind, allowing them to take pleasure in the objects they perceive using SSDs. (shrink)

Sensory substitution and augmentation devices are used to replace or enhance one sense by using another. Fiona Macpherson brings together neuroscientists, psychologists and philosophers to focus on the nature of the perceptual experiences, the sensory interactions, and the changes that occur in the mind and brain while using these technologies.

Sensory substitution presents the philosopher of cognitive science with a particularly interesting case. Using prosthetics to map visual stimuli onto other modalities, such as touch or audition, otherwise blind individuals may develop perceptual capacities and behaviours commonly associated with sight. Experienced users can distinguish ‘visually’ presented objects and will even jerk back from a looming surface. Whether perception with sensory substitution devices should be classed as a type of vision, some other modality, or a new sense (...) remains a matter of debate, however. In the following, I review arguments commonly used to rebut the visual interpretation and, drawing on recent experimental studies and phenomenological self-reports, construct a novel case for treating sensory substitution as a visual process. (shrink)

Visual information can be provided to blind users through sensory substitution devices that convert images into sound. Through extensive use to develop expertise, some blind users have reported visual experiences when using such a device. These blind expert users have also reported visual phenomenology to other sounds even when not using the device. The blind users acquired synthetic synaesthesia, with visual experience evoked by sounds only after gaining such expertise. Sensorimotor learning may facilitate and perhaps even be required (...) to develop expertise in the use of multimodal information. Furthermore, other areas where expertise is acquired in dividing attention amongst cross-modal information or integrating such information might also give rise to synthetic synaesthesia. (shrink)

Sensory substitution devices provide through an unusual sensory modality (the substituting modality, e.g., audition) access to features of the world that are normally accessed through another sensory modality (the substituted modality, e.g., vision). In this article, we address the question of which sensory modality the acquired perception belongs to. We have recourse to the four traditional criteria that have been used to define sensory modalities: sensory organ, stimuli, properties, and qualitative experience (Grice, 1962), (...) to which we have added the criteria of behavioral equivalence (Morgan, 1977), dedication (Keeley, 2002), and sensorimotor equivalence (O’Regan & Noe¨, 2001). We discuss which of them are fulfilled by perception through sensory substitution devices and whether this favors the view that perception belongs to the substituting or to the substituted modality. Though the application of a number of criteria might be taken to point to the conclusion that perception with a sensory substitution device belongs to the substituted modality, we argue that the evidence leads to an alternative view on sensory substitution. According to this view, the experience after sensory substitution is a transformation, extension, or augmentation of our perceptual capacities, rather than being something equivalent or reducible to an already existing sensory modality. We develop this view by comparing sensory substitution devices to other ‘‘mind-enhancing tools’’ such as pen and paper, sketchpads, or calculators. An analysis of sensory substitution in terms of mind-enhancing tools unveils it as a thoroughly transforming perceptual experience and as giving rise to a novel form of perceptual interaction with the environment. (shrink)

Riassunto: In questo articolo, vengono difese due tesi. La prima è che esistono ragioni per sganciare i dibattiti sull’individuazione delle modalità sensoriali e sul criterio esperienziale-ontologico dalle nozioni di “esperienza pura”, “esclusività” ed “esaustività”; piuttosto, è preferibile collocare le esperienze percettive sotto il cappello dell’unità soggettiva. La seconda è che lo sviluppo del criterio esperienziale-ontologico può essere portato avanti senza assumere che le modalità sensoriali costituiscono generi naturali. La prima tesi riguarda le esperienze percettive, la seconda riguarda le modalità sensoriali. (...) Affermare, con il criterio esperienziale-ontologico, che le realtà percettive svolgono un ruolo ontologico non implica che lo stesso valga per le classificazioni teoriche dei sensi ottenute per suo mezzo. La proposta consiste nell’inquadrare le tassonomizzazioni dei sensi in una cornice strumentalista. Parole chiave: Individuazione dei sensi; Modalità sensoriali; Esperienza percettiva; Criterio esperienziale-ontologico; Strumentalismo Towards an Instrumentalist Interpretation of the Senses: Two main theses are defended in this paper. First, I submit that the notions of “pure experience”, “exclusivity” and “exhaustivity” are far-fetched, and that a better proposal is to focus on the subjective unity of perceptual experiences. Second, I claim that the experiential-ontological criterion for the individuation of the sensory modalities doesn’t require the senses to be understood as natural kinds. The first thesis is about perceptual experiences, while the second one concerns the senses. According to the experiential-ontological criterion, perceptual realities have to be defined in ontological terms, but that doesn’t imply that the same holds true for the senses, which are theoretical notions. The proposal is to put the task of taxonomizing the senses in an instrumentalist frame. Keywords: Individuation of the Senses; Sensory Modalities; Perceptual Experiences; Experiential-ontological Criterion; Instrumentalism. (shrink)

The proper sensible criterion of sensory individuation holds that senses are individuated by the special kind of sensibles on which they exclusively bear about (colors for sight, sounds for hearing, etc.). H. P. Grice objected to the proper sensibles criterion that it cannot account for the phenomenal difference between feeling and seeing shapes or other common sensibles. That paper advances a novel answer to Grice's objection. Admittedly, the upholder of the proper sensible criterion must bind (...) the proper sensibles –i.e. colors– to the common sensibles –i.e. shapes– so as to account for the visual phenomenal character of shapes. But, as Grice rightly objected, neither association, nor ontological dependence will do –I spend some time isolating why dependence is a bad answer here, basically because the dependence of shape on colors is generic, and that genericity is arguably not part of the phenomenal content of perception. -/- Grice is wrong, however, to think that once association and dependence have been rebutted, there is no other way to attach color to extension. The right way to connect proper and common sensibles is rather trivial, although it seems to have been widely neglected: proper sensibles FILL common ones. To see a shape, by contrast to feeling it, is to perceived as filled by some color. To feel a shape, is to perceive it as, say, filled by pressure. Filling in is the phenomenal connection between proper and common sensibles. -/- One important corollary of that proposal is that proper sensibles –color, pressure, noise, taste...– have to belong to the category of stuffs, in the sense of uncountable entities. Against the widespread view that colors are properties, which have countable instances, the last part of the paper argues that colors are phenomenal stuffs, which fill some visual area. One commits a category mistake in asking: "How many tropes/instances of this determinate redness is there on that ladybird". One should rather ask "How much of this determinate redness is there on that ladybird". (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)

Sensory substitution devices make use of one substituting modality to get access to environmental information normally accessed through another modality . Based on behavioural and neuroimaging data, some authors have claimed that using a vision-substituting device results in visual perception. Reviewing these data, we contend that this claim is untenable. We argue that the kind of information processed by a SSD is metamodal, so that it can be accessed through any sensory modality and that the phenomenology associated (...) with the use of a SSD is best described in terms of spatial phenomenology, only. (shrink)

In current philosophy of mind, there is lively debate over whether emotions, moods, and other affects can extend to comprise elements beyond one’s organismic boundaries. At the same time, there has been growing interest in the nature and significance of so-called existential feelings, which, as the term suggests, are feelings of one’s overall being in the world. In this article, I bring these two strands of investigation together to ask: Can the material underpinnings of existential feelings extend beyond one’s skull (...) and skin? To begin, I introduce and adopt a componential-systemic view of extended affectivity. In doing so, I specify the vehicle externalist criteria for extension employed in my analysis. I then define what existential feelings are and pinpoint several key issues in their potential extension. More specifically, I identify sensorimotor ‘know-how’ as a possibly extending component of existential feeling and posit it as the fulcrum of my argument. Finally, I move on to consider the extension of existential feeling via sensory substitution, especially through so-called Tactile Visual Sensory Substitution (TVSS) devices. Informed by both philosophical and empirical studies, I argue that, under certain conditions, (a) the agent’s implicit sensorimotor processing and a TVSS device can become coupled into a new systemic whole, which in turn (b) reconfigures the material underpinnings of the agent’s pre-intentional world-experience. This, I conclude, counts as a cogent case for extended existential feeling. (shrink)

Enactive cognitive science (ECS) and ecological psychology (EP) agree that active movement is important for perception, but they remain ambiguous regarding the precise role of agency. EP has focused on the notion of sensorimotor invariants, according to which bodily movements play an instrumental role in perception. ECS has focused on the notion of sensorimotor contingencies, which goes beyond an instrumental role because skillfully regulated movements are claimed to play a constitutive role. We refer to these two hypotheses as instrumental agency (...) and constitutive agency, respectively. Evidence comes from a variety of fields, including neural, behavioral, and phenomenological research, but so far with confounds that prevent an experimental distinction between these hypotheses. Here we advance the debate by proposing a novel double-participant setup that aims to isolate agency as the key variable that distinguishes bodily movement in active and passive conditions of perception. We pilot this setup with a psychological study of width discrimination using the Enactive Torch, a haptic sensory substitution device. There was no evidence favoring the stronger hypothesis of constitutive agency over instrumental agency. However, we caution that during debriefing several participants reported using cognitive strategies that did not rely on spatial perception. We conclude that this approach is a viable direction for future research, but that greater care is required to establish and confirm the desired modality of first-person experience. (shrink)

We are sometimes led to a different picture of things when something unexpected occurs which needs explaining. The aim of this thesis is to examine a series of related issues in the philosophy of mind in the light of the unusual condition known to psychologists as ‘synaesthesia’. Although the emphasis will be on the philosophical issues a view of synaesthesia itself will also emerge. Synaesthesia is a distinct type of cross-modal association: stimulation of one sensory modality automatically triggers an (...) additional phenomenal character of experience associated with a second sensory modality in the absence of any direct stimulation of the second modality. Chapter 1 introduces synaesthesia to a philosophical audience by outlining the early history of synaesthesia studies, by summarising contemporary research and by indicating areas of philosophical interest to be considered in the rest of the thesis. Chapter 2 uses synaesthesia to examine one important philosophical model of the mind, Fodor’s modularity hypothesis, and, in turn, investigates the nature of synaesthesia in the light of that model. Fodor claims that cognitive modules can be thought of as belonging to a psychological natural kind in virtue of their possession of most or all of nine specified properties. The most common form of synaesthesia possesses Fodor’s nine specified properties of modularity, and hence it should be understood in terms of an extra cognitive module, and thus as belonging to the abovementioned psychological natural kind. Many psychologists believe that synaesthesia involves a breakdown in modularity. A breakdown in modularity would also explain the apparent presence of the nine specified properties in synaesthesia. I discuss the two concepts of function which underlie the respective theories, defending the breakdown thesis, arguing, in any case, that properties deriving from evolutionary history should also be used to decide between the two theses and thus ultimately membership of a psychological natural kind such as Fodor suggests. The argument is then used to respond to two challenges to the notion of a psychological natural kind. Chapter 3 focuses on the phenomenal character of synaesthetic experience. Externalists about the phenomenal character of experience tend to argue that the character of perceptual experience is to be explained either by the properties objects present to percipients, or by the properties objects are represented by percipients as having. Some internalists argue that there is a need to postulate hrther properties of the individual - in other words, qualia - to account for the individuation of the character of perceptual experience. The existence of additional phenomenal characters of experience in synaesthesia, which cannot directly be explained by reference to features of objects, suggests the existence of extra qualia and thus the presence of qualia in normal perception. The aim of this chapter is to meet the challenge presented by synaesthesia and the extra quaZia argument, and contrariwise, use synaesthesia as a way of fbrther clarifjmg the merits of the respective externalist positions. In the previous chapters the locution of ‘coloured hearing’ will have been adopted. Occasionally the process underlying synaesthesia is described as one of ‘hearing colours’. Chapter 4 rejects the latter usage. In so doing it focuses on the place of synaesthesia vis-a-vis normal perceptual processes. Considerations from previous chapters are further developed in order to shed light both on the metaphysical individuation of perceptual modalities and on how we know the distinctive perceptual modalities. Given the actual content of our concepts of perceptual modalities, it is argued that the actual world is one in which even synaesthetes are unable to hear colours. Consideration is given as to whether there is a possible world in which people could hear colours. The justification of the usage of ‘coloured-hearing’ then leads to a discussion of the relative importance of the individuating conditions of modes of perception. The thesis focuses largely on coloured hearing. What merits the preceding considerations have might be supported if they can be generalised. Chapter 5 goes a small way in that direction. (shrink)

Riassunto: In questo lavoro intendo discutere alcune questioni metodologiche relative al dibattito sull’individuazione delle modalità sensoriali. In primo luogo, cercherò di distinguere tra un problema metafisico, che riguarda la natura dei sensi, e un problema di classificazione, che riguarda la loro tassonomia. I criteri comunemente impiegati per individuare i sensi dovrebbero essere in grado di affrontare entrambi i problemi. In secondo luogo, delineerò cinque zone grigie, ossia cinque gruppi di casi problematici, che gli autori interessati nel difendere un criterio dovrebbero (...) essere in grado di affrontare. Il fine di questo lavoro non è quello di discutere i criteri e le aree grigie per se, bensì quello di chiarire alcune premesse metodologiche sullo sfondo del dibattito che qui si sta considerando. Parole chiave: Individuazione dei sensi; Filosofia della percezione; Metafisica dei sensi; Classificazione dei sensi; Zone grigie Methodological Considerations on the Individuation of the Senses: In this paper, I discuss some methodological issues relevant to the debate on the individuation of the sensory modalities. First, I make a distinction between a metaphysical question related to the nature of the senses, and a classificatory question related to their taxonomization. The criteria commonly used to individuate the senses should be able to address both questions. Second, I articulate five grey areas, namely, five groups of problematic cases that authors interested in defending a specific criterion should be able to tackle. The aim of this paper is not to discuss these criteria and grey areas per se, but to clarify some methodological premises that frame the debate under consideration. Keywords: Individuation of the Senses; Philosophy of Perception; Metaphysics of the Senses; Classification of the Senses; Grey Areas. (shrink)

Sensory substitution devices are a type of sensory prosthesis that (typically) convert visual stimuli transduced by a camera into tactile or auditory stimulation. They are designed to be used by people with impaired vision so that they can recover some of the functions normally subserved by vision. In this chapter we will consider what philosophers might learn about the nature of the senses from the neuroscience of sensory substitution. We will show how sensory (...) class='Hi'>substitution devices work by exploiting the cross-modal plasticity of sensory cortex: the ability of sensory cortex to pick up some types of information about the external environment irrespective of the nature of the sensory inputs it is processing. We explore the implications of cross-modal plasticity for theories of the senses that attempt to make distinctions between the senses on the basis of neurobiology. (shrink)

Peter van Inwagen has long claimed that he doesn’t understand substitutional quantification and that the notion is, in fact, meaningless. Van Inwagen identifies the source of his bewilderment as an inability to understand the proposition expressed by a simple sentence like “,” where “$\Sigma$” is the existential quantifier understood substitutionally. I should think that the proposition expressed by this sentence is the same as that expressed by “.” So what’s the problem? The problem, I suggest, is that van Inwagen takes (...) traditional existential quantification to be ontologically committing and substitutional quantification to be ontologically noncommitting, which requires that the two quantifiers have different meanings—but no different meaning for the substitutional quantifier is forthcoming. What van Inwagen fails to appreciate is that substitutional quantification is directed at a criterion of ontological commitment, namely, W. V. O. Quine’s, which is quite different from van Inwagen’s criterion. Substitutional quantification successfully avoids the commitments Quine’s criterion would engender but has the same commitments as existential quantification given van Inwagen’s criterion. The question, then, is whether the existential quantifier is ontologically committing, as van Inwagen believes. The answer to that question will depend on whether the ordinary language “there is/are,” which is codified by the existential quantifier, is ontologically committing. There are good reasons to doubt that it is. (shrink)

This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...) They consider the extent to which the senses act in concert, rather than as discrete modalities, and whether this influence is epistemically pernicious, neutral, or beneficial. They explore both the familiar five sense modalities and other candidate sense modalities, including a sense for flavour, inner senses (e.g., a sense for pain), and various senses that may result from using sensory substitution devices. Contributors often represent competing views, and the methods they deploy sometimes differ from one essay to the next—with some drawing upon the sciences and engineering and others relying upon conceptual analysis. All contributors agree, nonetheless, that traditional theorizing about the senses is hampered by a neglect of the senses other than vision, and by the misconception that vision is a passive receptacle for an image thrown by a lens. And many contributors believe that it is unduly restrictive to think of perception as a collation of contents provided by individual sense modalities; they think that to understand perception properly, we need to build into our accounts the idea that the senses work together. The ambition of the volume is to begin to develop better paradigms for understanding the senses, and thereby to move toward a better understanding of perception. (shrink)

In this paper we wish to bring together two seemingly independent areas of research: synaesthesia and sensory substitution. Synaesthesia refers to a rare condition where a sensory stimulus elicits not only the sensation that stimulus evokes in its own modality, but an additional one; a synaesthete may thus hear the word “Monday”, and, in addition to hearing it, have a concurrent visual experience of a red color. Sensory substitution, in contrast, attempts to substitute a (...) class='Hi'>sensory modality that a person has lost by transforming the information it provided so that it can be accessed through another, intact sensory modality. To make visual information accessible to a blind person, for example, data taken by a camera would be transformed into tactile or auditory information. What do synaesthesia and sensory substitution have in common? Research in both of these areas contributes to our understanding both of cross-modal cooperation and of sensory sensations or qualia, asking under what circumstances these can arise in a modality that is not stimulated. Synaesthesia reveals that this “sensory cross-activation” is possible, and sensory substitution research hopes to induce it. In this article, we will review briefly the literature on synaesthesia, and discuss the issue of qualia for this domain of research. We will then address the evidence for synaesthesia and visual qualia in the blind, and the research on sensory substitution, to finally ask whether sensory substitution may induce a ‘synthetic’ form of synaesthesia by taking advantage of the nervous system’s capacity for generating visual images in the absence of retinal input. (shrink)

A refined characterisation of sensory substitution has, as a consequence, that the substituting sense plus sensory substitution device is not always appropriately classified as the substituted sense. As a result, I argue, acclimatisation to a sensory substitution device is plausibly thought of as providing presentations of properties. Externalist accounts of experience together with objectivist characterisations of such properties have the upshot that properties putatively proprietary to a sense modality can be presented in another modality (...) in cases of substitution. I consider three objections to this argument. I close by explaining how reflection on the phenomena of sensory substitution and, in particular, acclimatisation is important for the development of any kind of representationalist or relationist theory of phenomenal properties or, at the very least, suggests we need to refine the idea of certain properties - rather than particular ways in which their presentation is bundled together - being proprietary to the particular senses. (shrink)

Sensory Individuals: Unimodal and Multimodal Perspectives provides an interdisciplinary, well-balanced, and comprehensive look at different aspects of unisensory and multisensory objects, using both nuanced philosophical analysis and informed empirical work. The research presented in this book represents the field's progression from treating neural sensory processes as primarily modality-specific towards its current state of the art, according to which perception, and its supporting neural processes, are multi-modal, modality-independent, meta-modal, and task-dependent. Even within such approaches sensory stimuli, properties, brain (...) activations, and corresponding perceptual phenomenology can still be characterized in a modality-specific way. The book examines the basic building blocks of human perception, and whether they are best understood as sense modality dependent units of different forms or multimodal perceptual objects. The book combines a variety of innovative and integrative angles to explore the topic and acts as a catalyst for an increasingly diverse field of research, which is in an exciting phase of growth and advancement. New questions are arising as quickly as they are being answered, and the collection Sensory Individuals provides an original and up-to-date addition to the field. (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)

Shows that when Qyuine's criterion of ontological commitment is modified to allow for the legitimacy of substitutional quantification, two consequences follow: (i) fundamental questions of ontology cease to be settled by mere appeal to logical form and truth, and (ii) a powerful method for reducing ontological commitments becomes available.

This collection of new essays on sensory individuals in unimodal and multimodal perception features contributions by outstanding researchers in the fields of philosophy of perception, experimental psychology, and cognitive neuroscience. The topics investigated include conceptual, developmental, and methodological aspects of object perception, and especially how various sense modalities construct their objects from sensory features and feature bearers. The interdisciplinary approach offered has enabled new directions in research on this subject. As ordered in this volume, the topics of the (...) contributions progress from treating neural sensory processes as primarily unisensory towards approaches that take perceptual processing to be modality-independent, meta-modal, and multimodal. Even within these latter approaches, sensory stimuli, sensory properties, brain activations, and corresponding perceptual phenomenology have often been characterized in a modality-specific way. Thus, it is timely to explore the relation between those processes that are unisensory and those that are multisensory. One of the primary themes of this collection is examining whether the basic building blocks of human perception are best understood as modality-dependent units of different forms or in terms of multimodal perceptual objects. Another theme is the relation between low-level object processing (segmentation and perceptual grouping processes) and high-level object knowledge embracing object concept and object-related expectations. A final theme is the role that perceptual objects play as loci of unification in unimodal and multimodal perception, namely that they enable binding and integration of sensory properties to individual entities or events. (shrink)

This paper builds on the system of David Lewis’s “Parts of Classes” to provide a foundation for mathematics that arguably requires not only no distinctively mathematical ideological commitments (in the sense of Quine), but also no distinctively mathematical ontological commitments. Provided only that there are enough individual atoms, the devices of plural quantification and mereology can be employed to simulate quantification over classes, while at the same time allowing all of the atoms (and most of their fusions with which (...) we are concerned) to be individuals (that is, urelements of classes). The final section of the paper canvasses some reasons to be committed to the required ontology for other than mathematical reasons. (shrink)

A defense of P.F. Strawson's view of asymmetrical dependency between objects and events. (Events are dependent on objects, not the other way around) put forth in his _Individuals_. I defend Strawson's view against a critique in "Strawson on Ontological Priority" by J.M.E. Moravscik. In doing so I critique Moravscik by drawing a distinction between ontological and conceptual dependencies. This was a chapter of my senior thesis published in an undergraduate journal and should probably only be read if you (...) need a good laugh. Published in an undergraduate conference journal Aporia. (shrink)

This study consists of a series of steps toward the development of a general theory of differences in ontological kind. The first part defines the notion of a "logical individual" and argues for its role as the basic ontological unit. I also take issue with those who hold that 'exist' is equivocal, as well as with those who claim that category-mistakes lack a truth-value. This part concludes with the "existence criterion", according to which a thing exists just (...) in case it is a logical individual; examples of things which satisfy and things which fail to satisfy this criterion are discussed. ;The second part covers a number of topics related to the classification of things into kinds. Problems involved in such classification are considered, including a discussion of whether, and on what grounds, certain attributes may be better qualified to define kinds than are others. The idea of ontological kinds is also adumbrated in an intuitive fashion, and a "formalist" strategy for ontological kinds, under which no attribute is treated as more ontologically puissant than any other, is considered and discarded. ;In the last part the ideal of substance is employed as a way of mediating between individuals, on the one hand, and privileged kinds, on the other. Following an examination of substance in Aristotle, six senses of substance are distinguished, of which two are found to hold particular promise for the development of a theory of ontological kinds. Discussion of these two notions of substance includes critiques of "stuff" metaphysics as well as "Aristotelian essentialism". The latter is found to depend on an unwarranted assumption that certain individuals are not only referentially, pragmatically, or psychologically prior to others, but also ontologically privileged. Refutation of this assumption leads to a rehabilitation of Aristotle's notion of "prime matter", but also to a picture of substance closer to Descartes' than to Aristotle's. The arguments against Aristotelian substance finally suggest an account of ontological kinds in terms of the possibility or impossibility of "fusion"--the coinstantiation by two individuals of a single individual concept. (shrink)

Each person is perceived by others and by herself as an individual in a very strong sense, namely as a unique individual. Moreover, this supposed uniqueness is commonly thought of as linked with another character that we tend to attribute to persons (as opposed to stones or chairs and even non-human animals): a kind of depth, hidden to sensory perception, yet in some measure accessible to other means of knowledge. I propose a theory of strong or essential individuality. This (...) theory is introduced by way of a critical discussion of Van Inwagen’s and Baker’s ontologies of persons. Composition Theory and Constitution Theory are shown to be complementary, in their opposite strong and weak points. I argue that both theories have unsatisfactory consequences concerning personal identity, a problem which the proposed theory seems to solve more faithfully both to folk intuitions and the phenomenology of personal life. (shrink)

Each person is perceived by others and by herself as an individual in a very strong sense, namely as a unique individual. Moreover, this supposed uniqueness is commonly thought of as linked with another character that we tend to attribute\nto persons (as opposed to stones or chairs and even non-human animals): a kind of depth, hidden to sensory perception, yet in some measure accessible to other means of knowledge. I propose a theory of strong or essential individuality. This theory (...) is introduced by way of a critical discussion of Van Inwagen’s and Baker’s ontologies of persons. Composition\nTheory and Constitution Theory are shown to be complementary, in their opposite strong and weak points. I argue that both\ntheories have unsatisfactory consequences concerning personal identity, a problem which the proposed theory seems to solve\nmore faithfully both to folk intuitions and the phenomenology of personal life. (shrink)

There is an existing debate regarding the view that technological instruments, devices, or machines can assert ‎or testify. A standard view in epistemology is that only humans can testify. However, the notion of quasi-‎testimony acknowledges that technological devices can assert or testify under some conditions, without ‎denying that humans and machines are not the same. Indeed, there are four relevant differences between ‎humans and instruments. First, unlike humans, machine assertion is not imaginative or playful. Second, ‎machine assertion is prescripted and (...) context restricted. As such, computers currently cannot easily switch ‎contexts or make meaningful relevant assertions in contexts for which they were not programmed. Third, ‎while both humans and computers make errors, they do so in different ways. Computers are very sensitive to ‎small errors in input, which may cause them to make big errors in output. Moreover, automatic error control ‎is based on finding irregularities in data without trying to establish whether they make sense. Fourth, ‎testimony is produced by a human with moral worth, while quasi-testimony is not. Ultimately, the notion of ‎quasi-testimony can serve as a bridge between different philosophical fields that deal with instruments and ‎testimony as sources of knowledge, allowing them to converse and agree on a shared description of reality, ‎while maintaining their distinct conceptions and ontological commitments about knowledge, humans, and ‎nonhumans.‎. (shrink)

When we use a directly referential expression to denote an object, do we incur an ontological commitment to that object, as Russell and Barcan Marcus held? Not according to Quine, whose regimented language has only variables as denoting expressions, but no constants to model direct reference. I make a case for a more liberal conception of ontological commitment—more wide-ranging than Quine’s—which allows for commitment to individuals, with an improved logical language of regimentation. The reason for Quine’s prohibition on (...) commitment to individuals, I argue, is that his choice of regimented language is heavily informed by his holist epistemology, in which objects are introduced via a description of their explanatory role. But non-holists can coherently attempt to commit to individuals using directly referential expressions, modelled in a formal language as constants. While holding on to the insight that a logical language is a helpful medium for ontology, I propose instead a more permissive language of regimentation, one expanded to permit the use of constants to record attempts to commit to individuals, which allows us to make sense of non-holist theories with alternative name-based or name-and-variable-based criteria of ontological commitment as well as Quinean theories. (shrink)

What if a blind person could 'see' with her ears? Thanks to Sensory Substitution Devices (SSDs), blind people now have access to out-of-reach objects, a privilege reserved so far for the sighted. In this paper, we show that the philosophical debates have fundamentally been mislead to think that SSDs should be fitted among the existing senses or that they constitute a new sense. Contrary to the existing assumption that they get integrated at the sensory level, we present (...) a new thesis according to which they are not sensory, and get vertically integrated on the top of existing sensory abilities, from which they should be theoretically distinguished. (shrink)

McAllestar (computer science, MIT) describes ONTIC, the interactive system for verifying represents a significant change of direction in the field of mechanical deduction, a key area in computer science and artificial intelligence. Fourteen interrelated essays comprise a multifaceted dialogue about intersubjectivity, reciprocity, and the nature of self and other, especially as these themes are developed in Merleau-Ponty's The Visible and the invisible. The question they explore is whether the reversible alterity of sensing and being sensed, a theme at the (...) heart of Merleau-Ponty's thought, is sufficient for understanding the alterity of other persons and of nature. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

While it is highly controversial whether Frege's criterion of sameness and difference for sense is true, it is relatively uncontroversial that that principle is inconsistent with Millian–Russellian views of content. I argue that this should not be uncontroversial. The reason is that it is surprisingly difficult to come up with an interpretation of Frege's criterion which implies anything substantial about the sameness or difference of content of anything.

In modern zoos, enrichment programs have become a standard part of animal care routines. Although 'higher' primates usually receive complex enrichment programs, encompassing many types of enrichment, these are less common for prosimians. These animals often largely receive food-based enrichment, as was previously the case at Auckland Zoo, where the ring-tailed lemur enrichment schedule contained only three different items, all food-related. Lemurs tend to be considered less curious and quick to learn than other primates, as well as being less manually (...) dextrous, and for these reasons can be overlooked for complex enrichment. However, they have strong sensory abilities, in particular an acute sense of smell (Sauther et al 1999). This paper describes an enrichment program designed for the lemurs at Auckland Zoo with the aim of stimulating all senses. (shrink)

Bodily perception is standardly contrasted with distal perception. In this paper, I argue that the standard view overlooks a significant respect in which bodily perception parallels distal perception. The parallel is motivated by a comparison between two cross-modal illusions. The ventriloquism effect manifests cross-modal relations between the distal senses of vision and audition and multi-sensory experiences jointly constituted by vision and audition. Thermal referral is a laboratory induced illusion that involves the bodily sensory systems underlying the perception of (...) pressure and heat. I argue that thermal referral indicates the presence of cross-modal relations and multi-sensory experiences of a type sufficiently similar to those manifested by the ventriloquism effect to suggest that pressure and thermal perception parallel vision and audition at the level of bodily perception. (shrink)

This chapter contains sections titled: What are Actions? What Are the Identity Conditions of Actions? Agents and their Powers References Further reading.

This is an excerpt from a report on the Sensory Substitution and Augmentation Conference at the British Academy in March of 2013. This portion of the report explores the question: Does sensory substitution generate perceptual or cognitive states?

This is an excerpt from a report on the Sensory Substitution and Augmentation Conference at the British Academy in March of 2013. This portion of the report explores the question: How does sensory substitution interact with the brain’s architecture?

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an (...) account of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

“Deep Thoughts” and “Fuzzy Memories” were fan favorites as transitional pieces between larger set pieces on Saturday Night Live in the 1990s. Delivered over soothing music and serene images, Jack Handey's bits never showed his face on screen, calling to mind his observation that “the face of a child can say it all, especially the mouth part of the face.” Some dark and offbeat takes on the human condition often have an existentialist feel. Existentialism is a philosophy concerned with “the (...) individual, the experience of choice, and the absence of rational understanding of the universe with a consequent dread or sense of absurdity in human life.” In other words, human beings find themselves trying to live meaningful lives without truly comprehending the nature of what that meaning may be, or whether or not true meaning could even exist. (shrink)

Our experience of objects is very rich. We perceive objects as possessing individuation conditions. This, however, is a projection of our senses and thinking. Azzouni shows the resulting austere metaphysics tames many ancient philosophical problems about constitution, as well as contemporary puzzles about reductionism.

Evolutionary psychologists claim that the mind contains “hundreds or thousands” of “genetically specified” modules, which are evolutionary adaptations for their cognitive functions. We argue that, while the adult human mind/brain typically contains a degree of modularization, its “modules” are neither genetically specified nor evolutionary adaptations. Rather, they result from the brain’s developmental plasticity, which allows environmental task demands a large role in shaping the brain’s information-processing structures. The brain’s developmental plasticity is our fundamental psychological adaptation, and the “modules” that result (...) from it are adaptive responses to local conditions, not past evolutionary environments. If different individuals share common environ- ments, however, they may develop similar “modules,” and this process can mimic the development of genetically specified modules in the evolutionary psychologist’s sense. (shrink)

Fregeanism and Relationism are competing families of solutions to Frege’s Puzzle, and by extension, competing theories of propositional representation. My aim is to clarify what is at stake between them by characterizing and evaluating a Relationist argument. Relationists claim that it is cognitively possible for distinct token propositional attitudes to be, in a sense, qualitatively indistinguishable: to differ in no intrinsic representational features. The idea of an ‘intrinsic representational feature’ is not, however, made especially clear in the argument. I clarify (...) it here and, having done so, offer reason to doubt the argument. This will put us in a position to draw some lessons about the relation between object-directed and representation-internal aspects of cognitive significance. (shrink)

Certain representations are bound in special ways to our sensory capacities; consider, for instance, pictures, sound recordings, and the various forms of mental sensory imagery. What do these representations have in common, and what makes them different from representations of other kinds? Dominic Gregory employs novel ideas on perceptual states and sensory perspectives to explain the special nature of the contents of distinctively sensory representations. The book contains extensive discussions of e.g. perceptual imagination, pictorial representation, and (...) memories. (shrink)

Body ownership concerns what it is like to feel a body part or a full body as mine, and has become a prominent area of study. We propose that there is a closely related type of bodily self-consciousness largely neglected by researchers—experiential ownership. It refers to the sense that I am the one who is having a conscious experience. Are body ownership and experiential ownership actually the same phenomenon or are they genuinely different? In our experiments, the participant (...) watched a rubber hand or someone else’s body from the first-person perspective and was touched either synchronously or asynchronously. The main findings: (1) The sense of body ownership was hindered in the asynchronous conditions of both the body-part and the full-body experiments. However, a strong sense of experiential ownership was observed in those conditions. (2) We found the opposite when the participants’ responses were measured after tactile stimulations had ceased for 5 s. In the synchronous conditions of another set of body-part and full-body experiments, only experiential ownership was blocked but not body ownership. These results demonstrate for the first time the double dissociation between body ownership and experiential ownership. Experiential ownership is indeed a distinct type of bodily self-consciousness. (shrink)