Mohan Matthen

Molyneux's Question (MQ) concerns whether a newly sighted man would recognize/distinguish a sphere and a cube by vision, assuming he could previously do this by touch. We argue that (MQ) splits into questions about (a) shared representations of space in different perceptual systems, and about (b) shared ways of constructing higher dimensional spatiotemporal features from information about lower dimensional ones, most of the technical difficulty centring on (b). So understood, MQ resists any monolithic answer: everything depends on the constraints faced by particular perceptual systems in extracting features of higher dimensionality from those of lower. Each individual question of this type is empirical and must be investigated separately. We present several variations on MQ based on different levels of dimensional integration—some of these are familiar, some novel adaptations of problems known elsewhere, and some completely novel. Organizing these cases in this way is useful because it unifies a set of disparate questions about intermodal transfer that have held philosophical and psychological interest, suggests a new range of questions of the same type, sheds light on similarities and differences between members of the family, and allows us to formulate a much-augmented set of principles and questions concerning the intermodal transfer of spatiotemporal organization.

Philosophers and scientists have long speculated about the nature of color. Atomists such as Democritus thought color to be "conventional," not real; Galileo and other key figures of the Scientific Revolution thought that it was an erroneous projection of our own sensations onto external objects. More recently, philosophers have enriched the debate about color by aligning the most advanced color science with the most sophisticated methods of analytical philosophy. In this volume, leading scientists and philosophers examine new problems with new analytic tools, considering such topics as the psychophysical measurement of color and its implications, the nature of color experience in both normal color-perceivers and the color blind, and questions that arise from what we now know about the neural processing of color information, color consciousness, and color language. Taken together, these papers point toward a complete restructuring of current orthodoxy concerning color experience and how it relates to objective reality. Kuehni, Jameson, Mausfeld, and Niederee discuss how the traditional framework of a three-dimensional color space and basic color terms is far too simple to capture the complexities of color experience. Clark and MacLeod discuss the difficulties of a materialist account of color experience. Churchland, Cohen, Matthen, and Westphal offer competing accounts of color ontology. Finally, Broackes and Byrne and Hilbert discuss the phenomenology of color blindness. Contributors: Justin Broackes, Alex Byrne, Paul M. Churchland, Austen Clark, Jonathan Cohen, David R. Hilbert, Kimberly A. Jameson, Rolf Kuehni, Don I.A. MacLeod, Mohan Matthen, Rainer Mausfeld, Richard Niederée, Jonathan Westphal The hardcover edition does not include a dust jacket

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.

We perceive in many ways. But several dubious presuppositions about the senses mask this diversity of perception. Philosophers, scientists, and engineers alike too often presuppose that the senses (vision, audition, etc.) are independent sources of information, perception being a sum of these independent contributions. We too often presuppose that we can generalize from vision to other senses. We too often presuppose that vision itself is best understood as a passive receptacle for an image thrown by a lens. In this essay we illustrate how reflection on results from the cognitive sciences undermine these (and many other) traditional presuppositions. Our illustration situates the remaining essays in the volume, Perception and its Modalities, which further extend the case against various traditional presuppositions, and offer alternatives ways to understand the senses and their role in perception. While many of the essays in this volume represent competing views and draw on different fields, from conceptual analysis to engineering, most contributors believe that to understand perception properly, we need to treat as foundational the idea that the senses work together. From that agreement, new paradigms for theorizing about perception begin to emerge.

In common with many other "virtue epistemologists," Abrol Fairweather and Carlos Montemayor contend that in order to count as knowledge, a mental state must be the product of truth-apt dispositions. I question their theoretical motivations. First, I note that unlike virtue ethics, affect is irrelevant to knowledge. A generous act is arguably better if it is performed warm-heartedly, but a belief is no more creditable if it is performed with the right affect. Second, I argue that non-discursive skills are better cases for virtue epistemologists than cognitive reliability—but because it is hard to know how skills work in individual instances of belief-formation, they cannot figure in the accreditation of knowledge. Finally, I argue that the oughts that attend inquiry (e.g., "you ought to look into this carefully") come from outside the context of inquiry.

Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces the appreciation of culture specific ways of engaging with art.

Over the past fifteen years there has been a considerable amount of debate concerning what theoretical population dynamic models tell us about the nature of natural selection and drift. On the causal interpretation, these models describe the causes of population change. On the statistical interpretation, the models of population dynamics models specify statistical parameters that explain, predict, and quantify changes in population structure, without identifying the causes of those changes. Selection and drift are part of a statistical description of population change; they are not discrete, apportionable causes. Our objective here is to provide a definitive statement of the statistical position, so as to allay some confusions in the current literature. We outline four commitments that are central to statisticalism. They are: 1. Natural Selection is a higher order effect; 2. Trait fitness is primitive; 3. Modern Synthesis (MS)-models are substrate neutral; 4. MS-selection and drift are model-relative.

The author attempts here to sketch the beginnings of an adequate interpretation of Plato's treatment of the tall and the equal in the "Phaedo". The paper consists of seven sections (roman numerals). In I-II, he (a) argues that any attempt to solve the puzzle stated at "Phaedo" 102 bc within the parameters there set down would "eo ipso" be an attempted theory of relational statements; (b) formulates that puzzle; and (c) shows that Frege solved it by denying its presuppositions. In IV the author proposes an interpretation of Plato's solution: that the "than y" in "x is taller than y" modifies the "is." In V-VI he shows how this theory fits in with and sheds light on other aspects of the theory of forms: the connection to Non-Contradiction, The doctrines of degrees of reality and of immanent characters. Finally in VII he shows that the puzzle of relational statements as formulated in the "Phaedo" need not extend to "equal." the paper also includes (iii) a discussion of H-N Castañeda's interpretation of Plato's theory.

Sound like a philosopher’s controversy? I think so. In ‘Evolution,’ I argued that Anti-Individualism was committed to a ‘highly metaphysical’ proposition at odds with the methodology of population genetics. This infelicity gave me reason for rejecting it. In his recent article, Pust takes issue with Neander and me. Until Pust wrote, Sober felt some small pressure from Individualism, and had shifted, albeit microscopically, toward it—he thought that on a very broad conception of causation, there might be some reason to think that selection explains individual traits. He is now convinced that he was right all along. So we are back where we were a few years ago, though with new arguments on each side. Such is the nature of progress in philosophy. The purpose of this paper is to offer some refinements of Individualism.

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

Much recent work on Aristotle's Categories assumes that there is an ontological theory presented in that work and tries to reconstruct it on the basis of the slender evidence in the book. I claim that this is misguided. Using a distinction made by G.E.L. Owen between theory and the "phaenomena", I argue that the Categories is mainly concerned with setting out the phenomena -- the intuitions that any ontology must explain. This thesis has consequences for the interpretation of Aristotle's ontological writings. I explore some of these.

In this paper I shall examine Aristotle's treatment of a certain puzzle concerning change. In section I, I shall show that within a certain standard framework for the semantics of subject-predicate sentences a number of things that Aristotle wants to maintain do not make sense. Then, I shall outline a somewhat non-standard account of the semantics for such sentences — arguably Aristotle's — and show how the proposals concerning change fit quite naturally into this framework. The results of this exercise will enable us to say something quite precise about applications of some obscure but characteristically Aristotelian doctrines: that ‘is’ is ‘said in many ways,’ that his predecessors got the Law of Opposites wrong. They also shed some light upon Aristotle's ontology of predicables.

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative.