Bence Nanay

I can imagine a banana to be a phone receiver. I can also imagine the flapping of my arms to be flying. So it is possible to imagine one thing to be another—at least for some types of ‘things’. I will argue that although it is possible to imagine an object to be another object and it is also possible to imagine an activity to be a different activity, one cannot imagine one’s present sensory experience to be a different sensory experience with different qualitative character. This claim will have some important consequences beyond the philosophy of imagination, for example, for some accounts of depiction.

This book provides an up-to-date and accessible overview of the hottest and most influential contemporary debates in philosophy of perception, written especially for this volume by many of the most important philosophers of the field. The book addresses the following key questions: Can perception be unconscious? What is the relation between perception and attention? What properties can we perceive? Are perceptual states representations? How is vision different from the other sense modalities? How do these sense modalities interact with one another? Contributors are Ned Block, Berit Brogaard, Alex Byrne, Robert Kentridge, John Kulvicki, Heather Logue, Mohan Matthen, Bence Nanay, Matt Nudds, Casey O’Callaghan, Adam Pautz, Ian Phillips, Susanna Siegel and Wayne Wu.

Philosophy of perception is one of the most robust and flourishing fields within contemporary philosophy. This volume casts a spotlight on the subject’s most dynamic conversations, with pairs of philosophers debating six key questions: 1. Are perceptual states representations? 2. How can perception be unconscious? 3. Is attention necessary for perception? 4. In what sense is perception multimodal? 5. How is vision different from other sense modalities? 6. Does perception include both low-level and high-level properties? Preliminary descriptions of each side in each debate, annotated bibliographies for each question, and a supplemental guide to further controversies in the field are included. These student-friendly features make the volume is_ _an ideal resource for any advanced student wishing to understand live debates in this active field.

George Kubler was one of the most important art historians of the twentieth century who is especially relevant today mainly for shifting the emphasis from high art to what is now known as ‘visual culture’ and for being the first genuinely global art historian. But what he has been most widely known for is the rejection of the biological metaphor of art—the general idea that artistic styles and movements grow, flower and then wither away. I argue that Kubler did not in fact reject the biological metaphor of art but rather replaced a pre-Darwinian biological metaphor with a post-Darwinian one which bears remarkable similarities to Ernst Mayr’s concept of population thinking, developed at the same time that Kubler wrote The Shape of Time. Importantly, taking Kubler’s post-Darwinian biological metaphor seriously can help us to understand his distinctive art-historical explanatory scheme.

When we remember a scene, the scene’s boundaries are wider than the boundaries of the scene we saw. This phenomenon is called boundary extension. The most important philosophical question about boundary extension is whether it is a form of perceptual adjustment or adjustment during memory encoding. The aim of this paper is to propose a third explanatory scheme, according to which the extended boundary of the original scene is represented by means of mental imagery. And given the similarities between perception and mental imagery, the memory system encodes both the part of the scene that is represented perceptually and the part of the scene that is represented by means of mental imagery.

We argue that pre-cueing studies show that perception is cognitively penetrated via mental imagery. It is important to be clear about the relation between attention and mental imagery here. We do not want to question the role of attention in pre-cueing studies. After all, it is attention that is being pre-cued. The pre-cue draws attention to certain features, which via top-down connections induces mental imagery for the pre-cued properties, which, then, after stimulus-presentation, interacts with and influences the online computations that process stimulus features. That is, what mediates the cognitive penetration of perceptual processing is not pre-cued attention, but cue-induced mental imagery.

It has been argued that the attribution of intentional actions is sensitive to our moral judgment. I will examine these arguments and Suggest an alternative explanation for the experiments they are based on.Joshua Knobe conducted the following experiment to support this claim. Subjects were given two vignettes that differed only in one small detail and this difference influenced their attribution of intentionality. The first vignette was the following:The vice-president of a company went to the chairman of the board and said, ‘We are thinking of starting a new program. It will help us increase profits, but it will also harm the environment.’The chairman of the board answered, ‘I don't care at all about harming the environment. I jus)t want to make as much profit as I can. Let's start the new program.’They started the new program. Sure enough, the environment was harmed.

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.”

There is systematic epistemic asymmetry between different centers of art production: we know far more about some (e.g. fifteenth-century Italian paintings) than about others (e.g. fifteenth-century Inca textiles). As long as we are focusing on the social context of the artworks or the artist’s intention, this epistemic asymmetry remains, given that we have vastly more information about the social context of the artworks or the artist’s intention when it comes to ‘Western’ art—again, because of the historically contingent differences in record-keeping and the survival rate of such records. If we want to overcome the epistemic asymmetry between ‘Western’ and ‘Non-Western’ art, we need to look elsewhere. I will argue, using Franz Boas’s work, that we should look for formal features. In order to avoid the epistemic asymmetry that follows from the historically contingent fact that we have more information about some cultures than about others, we need to start our analysis with formal categories.

I aim to show that the content of our perceptual states depends counterfactually on the action we want to perform. Most philosophical and psychological theories of perception claim or at least assume the opposite: they conceive of perception as allpurpose: what we want to do does not influence what we see. I will argue that the content of one's perceptual state does vary as the action one is inclined to perform varies. To put it very simply, what we see does indeed depend on what we want to do. After clarifying what counterfactual dependence means in my claim, I will give a two step argument. (a) one's visual attention (sometimes) depends counterfactually on one's intention to perform an action (everything else being equal) and (b) one's perceptual content (always) depends counterfactually on one's visual attention (everything else being equal). If we put these claims together, what we get is that one's perceptual content depends counterfactually on one's intention to perform an action (everything else being equal).

We are aware of those parts of a cat that are occluded behind a fence. The question is how we represent these occluded parts of perceived objects: this is the problem of amodal perception. I will consider four theories and compare their explanatory power: (i) we see them, (ii) we have nonperceptual beliefs about them, (iii) we have immediate perceptual access to them and (iv) we visualize them. I point out that the first three of these views face both empirical and conceptual objections. I argue for the fourth account, according to which we visualize the occluded parts of perceived objects. Finally, I consider some important consequences of this view with regards to the content and the evolution of visualization.

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point.

Both Arthur Danto and Jerry Fodor are modularist: they both think that perception is an encapsulated process that is in no way influenced by any kind of non‐perceptual processing. Danto's aesthetics can in part be separated out from his modularism, leading us to draw slightly different but arguably even more interesting conclusions from famous thought experiments such as the Gallery of Indiscernibles. Danto firmly rejects this post‐Wittgensteinian turn, offering evidence for his position that perception is neutral to language and cognition of three connected kinds. These are optical illusions, cultural and historical variation in pictorial representation, and the perception and cognition of animals. Despite his avowed rejection of perceptual plasticity, some doubts might arise about the actual extent of Danto's modularism. Extended perception involves “associations” that “have reference to things that lie outside the minimal visual experience.”

Jerry Fodor, the long-time proponent of the Language of Thought hypothesis has published a widely condemned book at the end of his life, criticising Darwin’s theory of natural selection. It has been argued that this is not just some kind of quirk or a result of Fodor’s idiosyncratic aging process, but a direct consequence of Fodor’s general theoretical commitments. And this is where Csaba Pléh fares much better than Fodor. Pléh’s general theoretical commitments were very similar to Fodor’s inasmuch as he also endorsed a fairly strong version of the Fodorian Language of Thought framework. But Pléh’s continuing fascination with, and use of, evolutionary arguments show how one can leave behind the Language of Thought hypothesis and opt for more dynamic evolutionary approaches to the mind.

Simulation, if used as a way of becoming aware of other people’s mental states, is the joint exercise of imagination and attribution. If A simulates B, then (i) A attributes to B the mental state in which A finds herself at the end of a process in which (ii) A has imagined being in B’s situation. Although necessary, imagination and attribution are not sufficient for simulation: the latter occurs only if (iii) the imagination process grounds or justifies the attribution. Depending on the notion of justification we use to make sense of the idea that an episode of imagining serves as a reason for attributing a mental state, the shape of the debate and the options it offers look very different. Reconfiguring the discussion in this way, we claim, shifts the focus of the simulation vs. theory-theory debate to a question located in epistemology.

Mental imagery is perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Temporal mental imagery is perceptual processing that is not triggered by temporally corresponding sensory stimulation in the relevant sense modality. We aim to show that temporal mental imagery plays an important role in explaining a number of diverse mental phenomena, from the thickness of temporal experience and the specious present to episodic memory and postdictive perception.