Mohan Matthen

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content has certain expressive limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image.

It commonly occurs that one person sees a particular colour chip B as saturated blue with no admixture of red or green (i.e., as “uniquely blue”), while another sees it as a somewhat greenish blue. Such a difference is often accompanied by agreement with respect to colour matching – the two persons may mostly agree when asked whether two chips are of the same colour, and this may be so across the whole range of colours. Asked whether B is the same or different from other chips, they mostly agree – though they continue to disagree about whether B is uniquely blue. I shall argue that in such cases neither individual misperceives what colour B is. They differ, rather, in how they perceive the colour of B.

Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such.

The specialization of visual function within biological function is reason for introducing “homology thinking” into explanations of the visual system. It is argued that such specialization arises when organisms evolve by differentiation from their predecessors. Thus, it is essentially historical, and visual function should be regarded as a lineage property. The colour vision of birds and mammals do not function the same way as one another, on this account, because each is an adaptation to special needs of the visual functions of predecessors—very different kinds of predecessors in each case. Thus, history underlies function. We also see how homology thinking figures in the hierarchical classification of visual systems, and how it supports the explanation of visual function by functional role analysis

Byrne & Hilbert are right that it might be an objective fact that a particular tomato is unique red, but wrong that it cannot simultaneously be yellowish-red (not only objectively, but from somebody else's point of view). Sensory categorization varies among organisms, slightly among conspecifics, and sharply across taxa. There is no question of truth or falsity concerning choice of categories, only of utility and disutility. The appropriate framework for color categories is Nominalism and Pluralistic Realism.

It has been suggested that the theory of reference advanced by Kripke and Putnam implies, or presupposes, an aristotelian vision of natural kinds and essences. I argue that what is in fact established is that there are degrees of naturalness among kinds. A parallel argument shows that there are degrees of naturalness among individuals. A subsidiary theme of the paper is that the definition of "natural kind term" as "rigid designator of a natural kind" is mistaken. Names and natural kind terms are defined by ostension to a spatiotemporal part of what they ostend. This helps us understand why 'Hesperus' and 'Phosphorus' are cognitively non-equivalent

How do fitness and natural selection relate to other evolutionary factors like architectural constraint, mode of reproduction, and drift? In one way of thinking, drawn from Newtonian dynamics, fitness is one force driving evolutionary change and added to other factors. In another, drawn from statistical thermodynamics, it is a statistical trend that manifests itself in natural selection histories. It is argued that the first model is incoherent, the second appropriate; a hierarchical realization model is proposed as a basis for a statistical treatment. It emerges that natural selection does not cause evolution; it just is evolution. The theory incorporates relations of statistical correlation, but not the kind of causation found in fundamental physical processes.

It has been claimed that certain forms of individual essentialism render the Theory of Natural Selection unable to explain why any given individual has the traits it does. Here, three reasons are offered why the Theory ought to ignore these forms of essentialism. First, the trait-distributions explained by population genetics supervene on individual-level causal links, and thus selection must have individual-level effects. Second, even if there are individuals that possess thick essences, they lie outside the domain of the Theory. Finally, the contingency of sexual reproduction suggests that essentialism is misguided in this arena. 1 The problem 2 A reprise of the controversy 3 Enter individual essences 4 How can selection not have individual-level effects? 5 Why can't we get rid of essences we don't like? 6 Is sex necessary?

The authors attempt to show that certain forms of behavior of the human immune system are illuminatingly regarded as errors in that system's operation. Since error-ascription can occur only within the context of an intentional/teleological characterization of the system, it follows that such a characterization is illuminating. It is argued that error-ascription is objective, non-anthropomorphic, irreducible to any purely causal form of explanation of the same behavior, and further that it is wrong to regard all errors of the immune system as due to malfunction or maladaptation. <br>.

In this paper, I examine Aristotle's notion of potentiality as it applies to the beginning of life. Aristotle’s notion of natural kinēsis implies that we should not treat the entity at the beginning of embryonic development as human, or indeed as the same as the one that is born. This leads us to ask: When does the embryo turn into a human? Aristotle’s own answer to this question is very harsh. Bracketing the views that lead to this harsh answer, his theory of kinēsis still gives us reason for searching for a replacement answer. Aristotle’s own work unfortunately gives us no help in finding this answer.

The author investigates greek ontologies that apparently rely on a conflation of "binary" (x is f) and "monadic" (x is) uses of 'is'. He uses Aristotelian and other texts to support his proposal that these ontologies are explained by the Greeks using two alternative semantic analyses for 'x is F'. The first views it as asserting a relation between x and F, the second as asserting that a "predicative complex" exists, where a predicative complex is a complex consisting of x and F. The article concludes by indicating some uses for the novel concept of predicative complex in aristotelian interpretation.

In this review of Hutto and Myin's Radicalizing Enactivism, I question the adequacy of a non-representational theory of mind. I argue first that such a theory cannot differentiate cognition from other bodily engagements such as wrestling with an opponent. Second, I question whether the simple robots constructed by Rodney Brooks are adequate as models of multimodal organisms. Last, I argue that Hutto and Myin pay very little attention to how semantically interacting representations are needed to give an account of choice and action.

Perception has been for philosophers in the last few decades an area of compelling interest and intense investigation. Developments in contemporary cognitive science and neuroscience has thrown up new information about the brain and new conceptions of how sensory information is processed and used. These new conceptions offer philosophers opportunities for reconceptualising the senses--what they tell us, how we use them, and the nature of the knowledge they give us. Today, the philosophy of perception resonates with ideas that had not even been articulated in the 1970s and 1980s. This Handbook is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects

This paper offers a new definition of "adaptationism". An evolutionary account is adaptationist, it is suggested, if it allows for multiple independent origins for the same function -- i.e., if it violates the "Unique Origin Constraint". While this account captures much of the position Gould and Lewontin intended to stigmatize, it leaves it open that adaptationist accounts may sometimes be appropriate. However, there are many important cases, including that of human rationality, in which it is not.