Bence Nanay

The psychological mechanism of decision-making has traditionally been modeled with the help of belief-desire psychology: the agent has some desires (or other pro-attitudes) and some background beliefs and deciding between two possible actions is a matter of comparing the probability of the satisfaction of these desires given the background beliefs in the case of the performance of each action. There is a wealth of recent empirical findings about how we actually make decisions that seems to be in conflict with this picture. My aim is to outline an alternative model that is consistent with these empirical findings. This alternative model emphasizes the role imagination plays in our decisions: when we decide between two possible actions, we imagine ourselves in the situation that we imagine to be the outcome of these two actions and then compare these two imaginings.

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures.

The aim of this paper is to reinterpret success semantics, a theory of mental content, according to which the content of a belief is fixed by the success conditions of some actions based on this belief. After arguing that in its present form, success semantics is vulnerable to decisive objections, I examine the possibilities of salvaging the core of this proposal. More specifically, I propose that the content of some very simple, but very important, mental states, the immediate mental antecedents of action, can be explained in this manner

Hallucination is a big deal in contemporary philosophy of perception. The main reason for this is that the way hallucination is treated marks an important stance in one of the most hotly contested debates in this subdiscipline: the debate between 'relationalists' and 'representationalists'. I argue that if we take hallucinations to be a form of mental imagery, then we have a very straightforward way of arguing against disjunctivism: if hallucination is a form of mental imagery and if mental imagery and perception have some substantive common denominator, then a fortiori, perception and hallucination will also have a substantive common denominator.

Two strong arguments have been given in favor of the claim that no selection process can play a role in explaining adaptations. According to the first argument, selection is a negative force; it may explain why the eliminated individuals are eliminated, but it does not explain why the ones that survived (or their offspring) have the traits they have. The second argument points out that the explanandum and the explanans are phenomena at different levels: selection is a population-level phenomenon, whereas adaptation occurs on the individual level. Thus, selection can explain why individuals in a certain population have a certain trait, but it cannot explain why a certain indi- vidual has this trait. After pointing out that both arguments ignore the significance of the limitation of environmental resources, I will construe a positive argument for the claim that cumulative selection processes can, indeed, play a role in explaining adaptations.

The concept of population thinking was introduced by Ernst Mayr as the right way of thinking about the biological domain, but it is difficult to find an interpretation of this notion that is both unproblematic and does the theoretical work it was intended to do. I argue that, properly conceived, Mayr’s population thinking is a version of trope nominalism: the view that biological property-types do not exist or at least they play no explanatory role. Further, although population thinking has been traditionally used to argue against essentialism about biological kinds, recently it has been suggested that it may be consistent with at least some forms of essentialism—ones that construe essential properties as relational. I argue that if population thinking is a version of trope nominalism, then, as Mayr originally claimed, it rules out any version of essentialism about biological kinds.

The function of a trait token is usually defined in terms of some properties of other (past, present, future) tokens of the same trait type. I argue that this strategy is problematic, as trait types are (at least partly) individuated by their functional properties, which would lead to circularity. In order to avoid this problem, I suggest a way to define the function of a trait token in terms of the properties of the very same trait token. To able to allow for the possibility of malfunctioning, some of these properties need to be modal ones: a function of a trait is to do F just in case its doing F would contribute to the inclusive fitness of the organism whose trait it is. Function attributions have modal force. Finally, I explore whether and how this theory of biological function could be modified to cover artifact function.

One of the most deeply entrenched ideas in Popper's philosophy is the analogy between the growth of scientific knowledge and the Darwinian mechanism of natural selection. Popper gave his first exposition of these ideas very early on. In a letter to Donald Campbell, 1 Popper says that the idea goes back at least to the early thirties. 2 And he had a fairly detailed account of it in his "What is dialectic?", a talk given in 1937 and published in 1940: 3 If we want to explain why human thought tends to try out every conceivable solution for any problem with which it is faced, then we can appeal to a highly general sort of regularity. The method by which a solution is approached is ..

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures.

There are two very different ways of thinking about perception. According to representationalism, perceptual states are representations: they represent the world as being a certain way. They have content, which may or may not be different from the content of beliefs. They represent objects as having properties, sometimes veridically, sometimes not. According to relationalism, perception is a relation between the agent and the perceived object. Perceived objects are literally constituents of our perceptual states and not of the contents thereof. Perceptual states are not representations. My aim is to argue that if we frame this debate as a debate about the individuation of perceptual states, rather than the nature of perception, then we can reconcile these two seemingly conflicting ways of thinking about perception

It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in pictures in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures.

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept.

Evolutionary psychology and the selectionist theories of neural development are usually regarded as two unrelated theories addressing two logically distinct questions. The focus of evolutionary psychology is the phylogeny of the human mind, whereas the selectionist theories of neural development analyse the ontogeny of the mind. This paper will endeavour to combine these two approaches in the explanation of the human mind. Doing so might help in overcoming some of the criticisms of both theories. The first part of the paper mentions three standard objections to evolutionary psychology and then outlines three philosophical problems evolutionary psychology has to offer a solution to. The second part will try to show that an approach combining evolutionary psychology and the selectionist theory of neural development might overcome some of these objections.

According to a once influential view of selection, it consists of repeated cycles of replication and interaction. It has been argued that this view is wrong: replication is not necessary for evolution by natural selection. I analyze the nine most influential arguments for this claim and defend the replication–interaction conception of selection against these objections. In order to do so, however, the replication–interaction conception of selection needs to be modified significantly. My proposal is that replication is not the copying of an entity, the replicator, but the copying of a property. Thus, we can have a replication process without there being a replicator that is being copied.

I am looking at an apple. The apple has a lot of properties and some, but not all, of these are part of my phenomenology at this moment: I am aware of these properties. And some, but not all, of these properties that I am aware of are part of my perceptual (or sensory) phenomenology. If I am attending to the apple’s color, this property will be part of my perceptual phenomenology. The property of being a granny smith apple from Chile is unlikely to be part of my perceptual phenomenology. Here are two problems for anyone who is interested in conscious experience in general, and perceptual experience in particular: (a) How can we tell which properties are part of our phenomenology and which ones are not? (b) How can we tell which properties are part of our perceptual phenomenology and which ones are part of our non-perceptual phenomenology? I will focus on (b) in this paper. My aim is twofold: I propose a methodology for answering the question of which properties are part of our perceptual phenomenology and I provide an example for how this methodology could be applied.

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.

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 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.

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 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.