Erik Myin

Inverted sensation arguments such as the inverted spectrum thought experiment are often criticized for relying on an unconstrained notion of 'qualia'. In reply to this criticism, 'qualia-free' arguments for inversion have been proposed, in which only physical changes happen: inversions in the world, such as the replacement of surface colors by their complements, and a rewiring of peripheral input cables to more central areas in the nervous system. I show why such constrained inversion arguments won't work. The first problem is that the world lacks the symmetry required to invert physical properties in the way required. The second problem concerns 'rewiring'. Empirical evidence indicates that the rewirings are either impossible, or would not result in an inversion of sensation. I propose the deeper reason for the failure of constrained inversion arguments lies in the fact that sensations are not properties of brain states, but spread into the world and the body

According to a standard representationalist view cognitive capacities depend on internal content-carrying states. Recent alternatives to this view have been met with the reaction that they have, at best, limited scope, because a large range of cognitive phenomena—those involving absent and abstract features—require representational explanations. Here we challenge the idea that the consideration of cognition regarding the absent and the abstract can move the debate about representationalism along. Whether or not cognition involving the absent and the abstract requires the positing of representations depends upon whether more basic forms of cognition require the positing of representations

There is a popular view on depiction which holds that convincingly realistic paintings depict their subjects through evoking in the spectator the illusion of seeing these very subjects face to face. There is, as it were, an exact 'match' between the visual experience of seeing something in a picture and the corresponding visual experience one would entertain if one were to stand in front of the real thing. This view, which we shall call 'illusionism', supports the widespread assumption that some kinds of pictures -- notably post-Renaissance perspective paintings -- provide the correct, 'natural' way to depict physical space because they capture the way the visual system enables one to see the world. The most notable defence of illusionism has been offered by Ernst Gombrich. In his Art and Illusion, Gombrich (1960) argues that the development of Western art consists in a series of discoveries about the nature of visual perception that eventually lead to pictorial techniques that are able to elicit illusionary visual experiences on part of the spectator and thus reach the perfection of naturalistic representation.