István Aranyosi

Roy Sorensen’s adventure in Shadowland started with his prize-winning article, "Seeing Intersecting Eclipses" (published in The Journal of Philosophy, and chosen by the board of the Philosopher’s Annual as one of the ten best philosophy articles of 1999), which is the basis for the first two chapters in this book. The recipe adopted in that article is followed in most of the following thirteen chapters, five of them being based on Sorensen’s previous articles on the topic: start with an open mind regarding the existence and causal efficacy of absences, shadows, i.e. absences of light, in our case, devise a riddle involving perception of such absences, and draw the consequences for the philosophy of perception and/or ontology.

Philosophers of mind, both in the conceptual analysis tradition and in the empirical informed school, have been implicitly neglecting the potential conceptual role of the Peripheral Nervous System (PNS) in understanding sensory and perceptual states. Instead, the philosophical as well as the neuroscientific literature has been assuming that it is the Central Nervous System (CNS) alone, and more exactly the brain, that should prima facie be taken as conceptually and empirically crucial for a philosophical analysis of such states This is the first monograph that focuses on the PNS and its constitutive role in sensory states, including pain, mechanoception, proprioception, tactile perception, and so forth. The author argues that the brain-centeredness of current philosophy of mind is a prejudice, and proposes a series of original ways in which classic puzzles in the philosophy of mind can be solved once the hypothesis that PNS is a constitutive element of mental states is taken seriously. The author calls this “the Peripheral Mind Hypothesis”, and employs it in a vast range of issues, such as functionalism, physicalism, mental content, embodiment, as well as some issues in neuroethics. Making equal use of conceptual analysis, empirical data from neuroscience, first-person phenomenological data, and philosophical speculation, this work offers a fresh look at, and novel solutions to many philosophical problems.

In this paper I propose a defense of a posteriori materialism.Problems with a posteriori identity materialism are identified,and a materialism based on composition, not identity, is proposed.The main task for such a proposal is to account for the relationbetween physical and phenomenal properties. Composition does notseem to be fit as a relation between properties, but I offer apeculiar way to understand property-composition, based on somerecent ideas in the literature on ontology. Finally, I propose amaterialist model for the mind-body relation that is able to resistthe attack from conceivability arguments.

The dictionary tells you that a shadow is a dark area or volume caused by an opaque object blocking some light. The definition is correct, but we need to clarify a couple of its elements: darkness and blocking. The clarification leads to the view that to see a shadow is a degree of failing to see a surface. I will also argue that seeing a silhouette (i.e. a backlit object) is a particular way of failing to see an object. Thus visual discriminability is not sufficient for seeing. Finally, I argue that comparative empirical research on shadows' contribution to amodal completion in apes and humans supports the view that humans, unlike apes, perceive shadows as shadows rather than as black objects, thus lending indirect support for my view that to see a shadow is a way and degree of failing to see a surface.

In his latest book, Roy Sorensen offers a solution to a puzzle he put forward in an earlier article -The Disappearing Act. The puzzle involves various question about how the causal theory perception is to be applied to the case of seeing shadows. Sorensen argues that the puzzle should be taken as bringing out a new way of seeing shadows. I point out a problem for Sorensen’s solution, and offer and defend an alternative view, according to which the puzzle is to be interpreted as showing a new way of seeing objects, in virtue of their contrast with light.