Bence Nanay

The concept of mental representation has long been considered to be central concept of philosophy of mind and cognitive science. But not everyone agrees. Neo-behaviorists aim to explain the mind without positing any representations. My aim here is not to assess the merits and demerits of neo-behaviorism, but to take their challenge seriously and ask the question: What justifies the attribution of representations to an agent? Both representationalists and neo-behaviorists tend to take it for granted that the real question about representations is whether we should be realist about the theory of representationalism. This paper is an attempt to shift the emphasis from the debate concerning realism about theories to the one concerning realism about entities. My claim is that regardless of whether we are realist about representational theories of the mind, we have compelling reasons to endorse entity realism about mental representations.

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.

Anthropomorphism is the methodology of attributing human-like mental states to animals. Zoomorphism is the converse of this: it is the attribution of animal-like mental states to humans. Zoomorphism proceeds by first understanding what kind of mental states animals have and then attributing these mental states to humans. Zoomorphism has been widely used as scientific methodology especially in cognitive neuroscience. But it has not been taken seriously as a philosophical explanatory paradigm: as a way of explaining the building blocks of the human mind. The philosophical explanatory paradigm of zoomorphism may not explain all aspects of human behavior, but if we accept the zoomorphic way of thinking about the human mind, we should only posit new, different kinds of mental states if the zoomorphic attribution of animal mental states fails to explain our behavior.

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.

We argue that recent empirical findings and theoretical models shed new light on the nature of attention. According to the resulting amplification view, attentional phenomena can be unified at the neural level as the consequence of the amplification of certain input signals of attention-independent perceptual computations. This way of identifying the core realizer of attention evades standard criticisms often raised against sub-personal accounts of attention. Moreover, this approach also reframes our thinking about the function of attention by shifting the focus from the function of selection to the function of amplification.

I aim to show that perception depends counterfactually on the action we want to perform. Perception is not all-purpose: what we want to do does influence what we see. After clarifying how this claim is different from the one at stake in the cognitive penetrability debate and what counterfactual dependence means in my claim, I will give a two-step argument: one’s perceptual attention depends counterfactually on one’s intention to perform an action and one’s perceptual processing depends counterfactually on one’s perceptual attention. If we put these claims together, what we get is that one’s perceptual processing depends counterfactually on one’s intention to perform an action.

Amodal completion is the representation of occluded parts of perceived objects. We argue for the following three claims: First, at least some amodal completion-involved experiences can ground knowledge about the occluded portions of perceived objects. Second, at least some instances of amodal completion-grounded knowledge are not sensitive, that is, it is not the case that in the nearest worlds in which the relevant claim is false, that claim is not believed true. Third, at least some instances of amodal completion-grounded knowledge are not safe, that is, it is not the case that in all or nearly all near worlds where the relevant claim is believed true, that claim is in fact true. Thus, certain instances of amodal completion-grounded knowledge refute both the view that knowledge is necessarily sensitive and the view that knowledge is necessarily safe.

According to what I call the ‘Discontinuity Thesis’, literature can never count as genuine philosophizing: there is an impermeable barrier separating it from philosophy. While philosophy presents logically valid arguments in favor of or against precisely formulated statements, literature gives neither precisely formulated theses nor arguments in favor of or against them. Hence, philosophers don’t lose out on anything if they don’t read literature. There are two obvious ways of questioning the Discontinuity Thesis. First, arguing that literature can indeed do what philosophy is generally taken to do. Second, arguing that philosophy is not, in fact, the presentation of logically valid arguments in favor or against precisely formulated statements – what it does is closer to what literature is generally taken to do. I use a combination of these two strategies and argue that philosophy is not as intellectually straightforward as it is advertized to be and literature is not as intellectually impoverished as it is generally taken to be.

The aim of this paper is to generalize a pair of concepts that are widely used in the history of science, in art history and in historical linguistics – the concept of internal and external history – and to replace the often very vague talk of ‘historical narratives’ with this conceptual framework of internal versus external history. I argue that this way of framing the problem allows us to see the possible alternatives more clearly – as a limited number of possible relations between internal and external history. Finally, I argue that while external history is metaphysically prior to internal history, when it comes to historical explanations, we need both.

The aim of this paper is to give a new interpretation of Aristotle's account of the emotions evoked in the course of engaging with tragic narratives that would give rise to a coherent account of catharsis. Very briefly, the proposal is that tragedy triggers vicarious emotions and catharsis is the purgation of such emotions. I argue that this interpretation of “fear and pity” as vicarious emotions is consistent with both Aristotle's account of emotions and his account of catharsis and also with his choice of examples for tragedies that trigger catharsis.

The recent focus of Philip Kitcher’s research has been, somewhat surprisingly in the light of his earlier work, the philosophical analyses of literary works and operas. The aim of this paper is to show that there is no discontinuity between this new direction and Kitcher's earlier work in the philosophy of science: Kitcher’s contributions to the philosophy of science and his more recent endeavors into the philosophy of literature and of music are grounded in the same big picture attitude towards the human mind – and attitude that he would undoubtedly call ‘pragmatic’: one that emphasizes the importance of those mental processes that are not rational.

In action theory, emotional actions are standardly treated as exceptions—cases where the “normal” springs of action are not functioning properly. My aim here is to argue that this is not so. We have plenty of evidence—beautifully brought together in the present special issue—that emotions play a crucial and often constitutive role in all the important phases of action preparation and initiation. Most of our actions are less stupid than, say, Zidane’s head-butt, but all of our actions have emotional components. Actions can be more or less emotional, but they are never completely nonemotional.

One of the most promising trends both in the neuroscience of pain and in psychiatric treatments of chronic pain is the focus on mental imagery. My aim is to argue that if we take these findings seriously, we can draw very important and radical philosophical conclusions. I argue that what we pretheoretically take to be pain is partly constituted by sensory stimulation-driven pain processing and partly constituted by mental imagery. This general picture can explain some problematic cases of pain perception, for example, phantom-limb pain, and it also has important consequences for some recent philosophical debates about the nature and content of pain.

Intentionalism about visual experiences is the view according to which the phenomenal character of a visual experience supervenes on the content of this experience. One of the most influential objections to this view is about blur: seeing a fuzzy contour clearly and seeing a sharp contour blurrily have different phenomenal character but the same content. I argue that this objection does not work if we understand perceptual content simply, and not particularly controversially, as partly constituted by the sum total of perceptually attributed properties, some determinable, some determinate.

The aim of teleosemantics is to give a scientifically respectable, or ‘naturalistic’ theory of mental content. In the debates surrounding the scope and merits of teleosemantics a lot has been said about the concept of indication (or carrying information). The aim of this paper is to focus on the other key concept of teleosemantics: biological function. It has been universally accepted in the teleosemantics literature that the account of biological function one should use to flesh out teleosemantics is that of etiological function. My claim is that if we replace this concept of function with an alternative one (that we have independent reasons to accept) and if we also restrict the scope of teleosemantics, we can arrive at an account of biologizing mental content that is much less problematic than the previous attempts.

The aim of the paper is to argue that the difference between creative and non-creative mental processes is not a functional/computational, but an experiential one. In other words, what is distinctive about creative mental processes is not the functional/computational mechanism that leads to the emergence of a creative idea, be it the recombination of old ideas or the transformation of one’s conceptual space, but the way in which this mental process is experienced. The explanatory power of the functional/computational theories and the experiential account is compared and it is pointed out that if creativity is a natural kind, it is not a functional/computational, but an experiential natural kind.

It has been argued that the attribution of intentional actions is sensitive to our moral judgment. I suggest an alternative, where the attribution of intentional actions depends on modal (and not moral) considerations. We judge a foreseen side-effect of an agent’s intentionally performed action to be intentional if the following modal claim is true: if she had not ignored considerations about the foreseen side-effect, her action might have been different (other things being equal). I go through the most important examples of the asymmetry in the attribution of intentionality and point out that the modal account can cover all the problematic cases, whereas the moral account can’t

The Perky experiments are taken to demonstrate the phenomenal similarity between perception and visualization. Robert Hopkins argues that this interpretation should be resisted because it ignores an important feature of the experiments, namely, that they involve picture perception, rather than ordinary seeing. My aim is to point out that the force of this argument depends on one’s views on picture perception. On what I take to be the most mainstream account of picture perception, Hopkins’s argument does not work. But even if we accept Hopkins’s own account, we have good reasons to believe that his conclusion does not follow

The question of whether cognition can influence perception has a long history in neuroscience and philosophy. Here, we outline a novel approach to this issue, arguing that it should be viewed within the framework of top-down information-processing. This approach leads to a reversal of the standard explanatory order of the cognitive penetration debate: we suggest studying top-down processing at various levels without preconceptions of perception or cognition. Once a clear picture has emerged about which processes have influences on those at lower levels, we can re-address the extent to which they should be considered perceptual or cognitive. Using top-down processing within the visual system as a model for higher-level influences, we argue that the current evidence indicates clear constraints on top-down influences at all stages of information processing; it does, however, not support the notion of a boundary between specific types of information-processing as proposed by the cognitive impenetrability hypothesis.

The aim of this paper is to make an unlikely connection between the old question about the meaning of life and some important concepts in philosophy of biology. More precisely, I argue that while biology is unlikely to help us to figure out the meaning of life, the fact that this question has been considered to be such a crucial one could be explained with the help of some consideration of our evolutionary past. I argue that if there is evidence for group selection in the course of human evolution, this may explain not the meaning of life but rather the reason why we are preoccupied with this question. First, I examine what group selection is and what role it played in human evolution. After surveying the evidence for the claim that in the course of human evolution we lived in isolated group societies, I analyse what influence this social structure had on our present psychological dispositions, including our quest for the meaning of life.

Theories of picture perception aim to understand our perceptual relation to both the picture surface and the depicted object. I argue that we should talk about not two, but three entities when understanding picture perception: the picture surface, the three dimensional object the picture surface visually encodes and the three dimensional depicted object. As and can come apart, we get a more complex picture of picture perception than normally assumed and one where the notion of twofoldness, which has played an important albeit controversial role in understanding picture perception is replaced by the concept of threefoldness.

Look at a red apple. Now close your eyes and visualize this apple. Your perceptual state and your imagery of the apple are very similar in some respects. They are also different in some respects. The aim of this paper is to address three questions about the relation between perception and imagination: -/- (a) How similar are perception and imagination and what explains this similarity? (b) How different are perception and imagination and what explains this difference? (c) How do perception and imagination interact?

Do we (sometimes) perceive apples as edible? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we see it as having certain shape, size and color and we only infer on the basis of these properties that it is. I argue that we do indeed see objects as edible, and do not just believe that they are. My argument proceeds in two steps. First, I point out that Susanna Siegel's influential argument in favor of the claim that we represent sortal properties perceptually does not work. Second, I argue that we can fix this argument if we replace the sortal property in question with the property of being edible, climbable or Q-able in general

Philosophy of perception has recently become one of the most important and most central sub-fields of philosophical research. The aim of this volume is to give a representative sample of the new approaches in philosophy of perception that are responsible for this explosion of philosophical interest. Perceiving the World contains eleven original essays, written specially for this book by some of the leading contemporary philosophers of perception: Jonathan Cohen, JTr(me Dokic, Fred Dretske, Andy Egan, Benj Hellie, Sean D. Kelly, M.G.F. Martin, Mohan Matthen, Adam Pautz, Jesse J. Prinz, and Susanna Siegel." "Bence Nanay is BOF Research Professor of Philosophy at the University of Antwerp and Senior Research Associate at Peterhouse, University of Cambridge. He received his PhD at the University of California, Berkeley, in 2006. He has published articles in various journals on philosophy of mind, philosophy of biology, and aesthetics."--BOOK JACKET.

The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, distributed, manner: our attention is focused on one perceptual object, but it is distributed among the various properties of this object. I argue that this way of exercising one’s attention is very different from the way we attend most of the time and it fits very well with some important features of paradigmatic examples of aesthetic experience.