Bence Nanay

When we see an object, we also represent those parts of it that are not visible. The question is how we represent them: this is the problem of amodal perception. I will consider three possible accounts: (a) we see them, (b) we have non-perceptual beliefs about them and (c) we have immediate perceptual access to them, and point out that all of these views face both empirical and conceptual objections. I suggest and defend a fourth account, according to which we represent the occluded parts of perceived objects by means of mental imagery. This conclusion could be thought of as a (weak) version of the Strawsonian dictum, according to which “imagination is a necessary ingredient of perception itself”.

Two widespread strategies of resisting racism are the following. The first one is to deny the existence of races and thus block even the possibility of racist claims. The second one is to grant that races exist but insist that racial differences do not imply value differences. The aim of this paper is to outline a strategy of resisting racism that is weaker than the first but stronger than the second strategy: even if we accept that races exist, we can still deny that there are projectible racial differences. And this is enough to block the possibility of racist claims without appealing to the slippery topic of value differences. I use some considerations from philosophy of biology in order to argue for this claim.

Theories of singular causation have a genuine problem with properties. In virtue of what property do events (or facts) cause other events? One possible answer to this question, Davidson’s, is that causal relations hold between particulars and properties play no role in the way a particular causes another. According to another, recently fashionable answer, in contrast, events cause other events in virtue of having a trope (as opposed to a property-type). Both views face serious objections. My aim in this paper is to combine these two very different solutions to the problem of the properties of singular causation and to argue that this combined view can avoid objections against both of them.

Relationalism holds that perceptual experiences are relations between subjects and perceived objects. But much evidence suggests that perceptual states can be unconscious. We argue here that unconscious perception raises difficulties for relationalism. Relationalists would seem to have three options. First, they may deny that there is unconscious perception or question whether we have sufficient evidence to posit it. Second, they may allow for unconscious perception but deny that the relationalist analysis applies to it. Third, they may offer a relationalist explanation of unconscious perception. We argue that each of these strategies is questionable.

It has been claimed that photographs are transparent: we see through them; we literally see the photographed object through the photograph. Whether this claim is true depends on the way we conceive of seeing. There has been a controversy about whether localizing the perceived object in one's egocentric space is a necessary feature of seeing, as if it is, then photographs are unlikely to be transparent. I would like to propose and defend another, much weaker, necessary condition for seeing: I argue that it is necessary for seeing that there is at least one way for me to move such that if I were to move this way, my view of the perceived object would change continuously as I move. Since this condition is not satisfied in the case of seeing objects in photographs, photographs are not transparent

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient aspects of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience.

Adam Smith’s account of sympathy or ‘fellow feeling’ has recently become exceedingly popular. It has been used as an antecedent of the concept of simulation: understanding, or attributing mental states to, other people by means of simulating them. It has also been singled out as the first correct account of empathy. Finally, to make things even more complicated, some of Smith’s examples for sympathy or ‘fellow feeling’ have been used as the earliest expression of emotional contagion. The aim of the paper is to suggest a new interpretation of Smith’s concept of sympathy and point out that on this interpretation some of the contemporary uses of this concept, as a precursor of simulation and empathy, are misleading. My main claim is that Smith's concept of sympathy, unlike simulation and empathy, does not imply any correspondence between the mental states of the sympathizer and of the person she is sympathizing with.

The aim of this paper is to show that we can deny that reality is neatly segmented into natural kinds and still give a plausible view about what science is supposed to do – and the way science in fact works does not rely on the dubious metaphysical assumption that reality is segmented into natural kinds. The score is simple: either there are natural kinds or there aren’t. The former view has been the default position in mainstream analytic metaphysics and philosophy of science. I want to put the latter on the table as a metaphysically and scientifically plausible alternative.

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks.

According to the Ability Hypothesis, knowing what it is like to have experience E is just having the ability to imagine or recognize or remember having experience E. I examine various versions of the Ability Hypothesis and point out that they all face serious objections. Then I propose a new version that is not vulnerable to these objections: knowing what it is like to experience E is having the ability to discriminate imagining or having experience E from imagining or having any other experience. I argue that if we replace the ability to imagine or recognize with the ability to discriminate, the Ability Hypothesis can be salvaged.

Andreas Gursky is the darling of philosophers and art theorists of all kinds of traditions and denominations. He has been used as a prime example of the return of the sublime in contemporary art, as a trailblazer in the use of the digital manipulation of images in order to represent something abstract and even as a philosopher of perception who makes some subtle point about the nature of visual experience. All of these arguments are based on some or another technological innovation Gursky uses: the size of his photos, their postproduction (often digital) manipulation and their unusually high resolution. The aim of this paper is to shift the emphasis from these arguments on the significance of the new technology in Gursky’s oeuvre to a much more important role technology plays in his works, namely, in their aesthetics.

A straightforward way of thinking about perception is in terms of perceptual representation. Perception is the construction of perceptual representations that represent the world correctly or incorrectly. This way of thinking about perception has been questioned recently by those who deny that there are perceptual representations. This article examines some reasons for and against the concept of perceptual representation and explores some potential ways of resolving this debate. Then it analyzes what perceptual representations may be: if they attribute properties to entities, what are these attributed properties, and what are the entities they are attributed to.

This paper proposes to carve out a new position in the scientific realism/antirealism debate and argue that it captures some of the most important realist and some of the most important antirealist considerations. The view, briefly stated, is that there is always a fact of the matter about whether the singular statements science gives us are literally true, but there is no fact of the matter about whether the non-singular statements science gives us are literally true. I call this view singularist semirealism. Singularist semirealism sides with scientific realism with regards to singular statements but it is an antirealist view with regards to non-singular statements. In this sense, singularist semirealism could be considered to be ‘the best of both worlds’. 1 Introduction2 Truth and Correctness3 Property-Tokens and Property-Types4 Singularist Semirealism5 Encouragement from Actual Scientific Practice6 Some Potentially Worrying Consequences of Singularist Semirealism7 Some Promising Consequences of Singularist Semirealism8 Conclusion: Theory Change

In ‘A modal theory of function’, I gave an argument against all existing theories of function and outlined a new theory. Karen Neander and Alex Rosenberg argue against both my negative and my positive claim. My aim here is not merely to defend my account from their objections, but to (a) very briefly point out that the new account of etiological function they propose in response to my criticism cannot avoid the circularity worry either and, more importantly, to (b) highlight, and attempt to make precise, an important feature of my modal theory that may have been understated in the original paper – that function attributions depend on the explanatory project at hand.

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 (like hearing or smell)? 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.

There are two very different ways of thinking about perception. According to the first one, perception is representational: it represents the world as being a certain way. According to the second, perception is a genuine relation between the perceiver and a token object. These two views are thought to be incompatible. My aim is to work out the least problematic version of the representational view of perception that preserves the most important considerations in favor of the relational view. According to this version of representationalism, the properties represented in perception are tropes—abstract particulars that are logically incapable of being present in two distinct individuals at the same time. I call this view ‘trope representationalism’

Essentialism about natural kinds has three tenets. The first tenet is that all and only members of a natural kind has some essential properties. The second tenet is that these essential properties play a causal role. The third tenet is that they are explanatorily relevant. I examine the prospects of questioning these tenets and point out that arguing against the first and the second tenets of kind-essentialism would involve taking parts in some of the grand debates of philosophy. But, at least if we restrict the scope of the discussion to the biological domain, the third tenet of kind-essentialism could be questioned more successfully.