Clare Mac Cumhaill

Anscombe’s published writings, lectures and notes on sensation point toward a sophisticated critique of sense-data, representationalist and direct realist theories of perception (in both their historical and contemporary forms), and a novel analysis of the concept of sensation. Her philosophy of perception begins with the traditional question, ‘What are the objects of sensation?’, but the response is a grammatical rather than ontological enquiry. What, she asks, are the characteristics of the grammatical object of sensation verbs? Anscombe’s answer is: sensation verbs take ‘intentional objects’, where an ‘intentional object’ is a description which has the characteristics of the concept of intention—characteristics elucidated in great detail in her Intention. This simple manoeuvre allows Anscombe to reject two opposing positions in the philosophy of perception - that the objects of sensation are sense-data and that the objects of sensation are tables and chairs (etc). Both views, she argues, fail to recognise the grammatical fact that the verbs of sensation take intentional objects. This chapter outlines the case for a grammatical methodology in philosophy of perception, by framing an analysis of the ways in which the sense-data and direct-realist theories of perception arise out of the theoretical demands that are generated when the grammar of the concept of sensation is left unexplored. Along the way, it will be shown that Anscombe’s philosophy of perception should not be read as fore-running contemporary representationalism, and that reading it as such in fact runs counter not only to the letter but the spirit of Ancombe’s proposal.

I introduce a perceptual phenomenon so far overlooked in the philosophical literature: ‘visual evanescence’. ‘Evanescent’ objects are those that due to their structured visible appearances have a tendency to vanish or evanesce from sight at certain places and for certain ‘biologically apt’ perceivers. Paradigmatically evanescent objects are those associated with certain forms of animal camouflage. I show that reflection on visual evanescence helps create conceptual room for a treatment of looks statements not explicit in the contemporary literature, one which takes its cue from the relatively neglected philosophy of perception of G.E.M. Anscombe. In sensory contexts in which evanescence is known to have occurred, the use of ‘looks invisible’ seems to be intelligible, a fact that sensationalist and objectivist treatments of the nature of looks, as I call them, cannot obviously accommodate - at least, as I explain, when coupled with what Cora Diamond (1981) describes as a ‘natural’ understanding of nonsense. Focusing on a number of imaginative scenarios in which the statement ‘looks invisible’ is permissible, I oppose these ontological treatments with the grammatical approach I draw from Anscombe and in doing so I uncover a degree of unity across the cases I consider: something can intelligibly be said to ‘look invisible’ if one can see or appears to see the entirety of the region that the ‘invisible’ thing occupies. The region ‘looks empty’ but is full.

I offer a reading of Murdoch's conception of concrete universality as it appears in 'The Idea of Perfection', the first essay in the Sovereignty of Good. I show that it has British Idealist overtones that are inflected by Wittgenstein, a thought I try to illuminate by drawing an analogy with Wittgenstein's discussion of the metre stick in Paris in Philosophical Investigations §50. In the last part of the paper, I appeal to the work of Murdoch's erstwhile tutor Donald MacKinnon to respond to an objection to my strategy, which I draw from Murdoch's later work, Metaphysics as a Guide to Morals.

When Sartre arrives late to meet Pierre at a local establishment, he discovers not merely that Pierre is absent, but Pierre’s absence, where this depends, or so Sartre notoriously supposes, on a frustrated expectation that Pierre would be seen at that place. Many philosophers have railed against this view, taking it to entail a treatment of the ontology of absence that Richard Gale describes as ‘attitudinal’ – one whereby absences are thought to ontologically depend on psychological attitudes. In this paper, I aim to make Sartre’s intuition respectable. What Sartre perceives is an absential location, only the boundaries of which are circumscribed by what Sartre is doing at that place: meeting Pierre. I explain how this Sartrean view, though not specifically attributable to Sartre, nonetheless honours some of the phenomenological data described, if a little opaquely, in Being and Nothingness.

I consider the first part of Marty’s Raum und Zeit, which treats of both the nature of space and spatial perception. I begin by sketching two charges that Marty raises against Kantian and Brentanian conceptions of space (and spatial perception) respectively, before detailing what I take to be a characteristically Martyan picture of space perception, though set against the backdrop of contemporary philosophy of perception. Marty has it that spatial relations are non-real but existent, causally inert relations that are grounded in space, which is itself non-real but existent. Objects do not inhere in space in the way properties inhere in substances. Rather, there is a ‘non-real’ relation of ‘fulfillment’ (Erfüllung) that holds between objects and places in space, which itself subsists. I consider whether any contemporary philosophy of perception is equipped to make sense of Martyan space perception and I suggest that the most promising conception is Naïve Realism. I then outline a difficulty for this theoretical translation. Naïve Realism is a direct theory of perception whereby S is said to perceive O just in case S stands in a psychological relation of acquaintance with O, where this relation is both non-representational and explanatorily primitive. For Marty however, all relations are non-real and, insofar as they are grounded, are neither fundamental, nor brute or primitive in an explanatory sense. I close by detailing what I thereby take a distinctively Martyan form of Naïve Realism to involve. The central theoretical tenet that phenomenal character is fundamentally constituted by worldly objects is preserved; but the manifestly relational structure of the acquaintance relation, construed in particular as a relation of awareness, is treated as derivative. I make headway in spelling out the latter claim by bringing Marty into fleeting conversation with another Thomist - G.E.M. Anscombe.

This paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness, though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged for a tentative Footian ‘aesthetics’. I bring them into conversation with some ideas from Iris Murdoch to elucidate what I think the import may be, for Foot, of depicting human form.

In this paper, I explore a noted empirical link between regret and insomnia. Drawing on Brian O’Shaughnessy analysis of wakeful consciousness, I sketch three candidate ways of excavating a conceptual connection. Regret involves a certain kind of temporal orientation that, for O’Shaughnessy, only the state of wakefulness makes possible. Regret involves mental activity – it is productive of and precipitates patterns of counterfactual thought and imagining. Further, picking up a cue from Bernard Williams’ celebrated conception of agent-regret in ‘Moral Luck’, sometimes the mental activity that occurs in regret is affective and expressive – as I argue, it is expressive of the wish that things were otherwise were satisfied now. Finally, I take up the puzzle as to why occurrent regret is not merely incompatible with sleep – insofar as it necessitates wakefulness - but may preclude falling asleep and I offer a tentative solution, focusing on the self-conscious character of occurrent regret.

In what sense does empty space feature in visual experience? In the first part of this essay I sketch a view advanced by Soteriou and Richardson on which one's visual awareness of empty space is explained by appeal to ‘structural’ features of the phenomenology of visual experience, in particular the phenomenology of experiencing one's visual field as bounded. I suggest that although this ‘structuralist’ view is silent on whether empty space has a phenomenal appearance, the very appeal to structural features seems a natural foil to some such thought. In the second part, I outline a view on which it can be granted that empty space does, after all, have a phenomenal appearance and, so, is not best cast as a species of absence perception as the structuralist avows, at least on a certain construal of ‘absence perception’. After O'Shaughnessy , I contend that although some privations have a phenomenal appearance, ‘absence perception’ should single out the putative perception of phenomena that lack phenomenal reality. I finally consider how the descriptive phenomenology that the structuralist points to, and which I urge should be embraced, can nonetheless be reconciled with the view I spell out

Re-encountering certain kinds of artworks in the present (re-listening to music, re- reading novels) can often occasion a kind of recollection akin to episodic recollection, but which may be better cast as ‘phasic’, at least insofar as one can be said to remember ‘what it was like’ to be oneself at some earlier stage or phase in one’s personal history. The kinds of works that prompt such recollection, I call ‘still lives’ - they are limited wholes whose formal properties are stable over time. In the first part of the paper, I spell out a way of making sense of the peculiar power that certain artworks have to occasion such recollection – it is, as I explain, a power or ductus that derives from the form of the artwork, though possession of such a power is not limited to art. I then detail three dimensions along which episodic recollection and phasic recollection as occasioned by re-encountering ‘still lives’ differ: metaphysical, phenomenological, and descriptive. In the second half, I explore a challenge for my account of phasic recollection, which in turn helps make more vivid my proposal as well as the spectral analogy at the heart of it: Just as one can see regions behind one by looking in the direction of a mirror located in the same space in which one is, sometimes by re-encountering certain kinds of artworks now, past intervals or phases ‘behind one’ can be ‘made present’ in a way that the paper aims to make plain. I also explain to what extent phasic recollection might be understood as a form of mental time travel, and what the attendant phenomenology of ‘transportation’ involves.

ABSTRACT I draw on Carl Stumpf’s essay “Psychologie und Erkenntnistheorie” (1891), and his precocious On the Psychological Origin of the Idea of Space (1873), to set out a charge he raises against Kant’s form/matter distinction. The charge rests, I propose, on the supposition that colourless extension, or empty space, cannot be seen. I consider an objection that Stumpf raises against Kant’s notorious ‘subtraction’ argument. Kant supposes that we can ‘take away’ from the representation of a body all that the understanding thinks in relation to it and extension would yet remain (Remainder), separate from all sensation (Separateness). Stumpf denies both claims but I suggest he needn’t. I outline a way of defending Remainder without Separateness, extrapolating from some neglected descriptive phenomenology in Husserl’s 1907 “Thing and Space” lectures: we see empty regions insofar as we see things through them. Finally, by appeal to so-called ‘structural’ features of visual experience, I detail a distinctive approach to making the subtraction argument intelligible.

I present a novel anti-sceptical BIV argument by focusing on conditions on the production and use of the locative preposition ‘in’. I distinguish two uses of ‘in’—material and descriptive phenomenological—and I explain in what respect movement is central to the concept that our use of ‘in’ expresses. I go on to argue that a functionalist semantics of the intelligible use of ‘in’ demands a materialist philosophy of action in the spirit of G.E.M. Anscombe, but also why the structure of space is not irrelevant either; appeal to the structure of space unsettles the causal-empirical assumptions that ground the picture of subjectivity and agency that the biv narrative assumes. Finally, I explain why a functionalist semantics demands a Naïve Realist metaphysics of perception, consistent with some of Putnam’s last writings on philosophy of perception.

Elizabeth Anscombe, Mary Midgley, Iris Murdoch and Philippa Foot all studied at Oxford University during the Second World War. One of their wartime tutors was Donald MacKinnon. This paper gives a broad overview of MacKinnon's philosophical outlook as it was developing at this time. Four talks from between 1938 and 1941—‘And the Son of Man That Thou Visiteth Him’ (1938), ‘What Is a Metaphysical Statement?’ (1940), ‘The Function of Philosophy in Education’ (1941) and ‘Revelation and Social Justice’ (1941)—give a foretaste of the conception of moral philosophy that he later articulated in A Study of Ethical Theory (1957). We identify aspects of his philosophical outlook and unusual treatment of method that likely shaped his teaching. We trace his influence in the work of Midgley, Murdoch and Foot, all of whom studied with him from Trinity Term 1940 until their finals in 1942. In the case of Anscombe, though she was briefly his student—he taught her Plato—she and MacKinnon moved in shared intellectual circles, and there is reason to think that some of the forces that shaped MacKinnon's outlook also shaped hers. The sketch we offer is incomplete—in particular, we are not able to do justice to MacKinnon's explicitly theological writings—but we hope to achieve three things. First, to go some way towards indicating the importance of the teacher MacKinnon to understanding the work of his better-known pupils. Second, to introduce a philosopher for whom the teaching of philosophy, practical ethics and metaphysical theory were deeply entwined. Third, to reflect on the relationship between, on the one hand, a conception of the practice and significance of metaphysics and, on the other, a view on the role and nature of philosophical teaching and learning.

I ask whether figure-ground structure can be realized in touch, and, if so, how. Drawing on the taxonomy of touch sketched in Katz's 1925 The World of Touch, I argue that the form of touch that is relevant to such consideration is a species of immersed touch. I consider whether we can feel the space we are immersed in and, more specifically, the empty space against which the surfaces of objects, as I shall urge, “stand out.” Harnessing M. G. F. Martin's account of bodily awareness and touch, I defend a positive thesis, pace Graham Nerlich on whose The Shape of Space I otherwise rely, both to defend the supposition that empty space can in principle be felt and to argue that touching empty space is not a mere species of absence perception. Along the way, I defuse a causal worry that might be thought to arise in the case of touching empty space.

'Philosophy in a world of women. I reflected, talking with Mary, Pip and Elizabeth, how much I love them.' Two brilliant young scholars uncover the major philosophical contributions of four women whose ideas could have changed the course of twentieth-century thought. Written with energy, expertise and panache, The Quartet is a page-turning blend of research and recovery, storytelling, and a call to arms. Iris Murdoch, Philippa Foot, Mary Midgley and Elizabeth Anscombe were great friends and comrades in the intellectual trenches, rethinking the possibilities of moral philosophy when the men 'left the room' and taking on the establishment, ultimately embodied by President Truman. Mac Cumhaill and Wiseman bring these women out of the shadows and into vivid colour.

Most research in philosophy of perception has focussed on the perceptual experience of three-dimensional, solid, bounded and coherent material objects – items like ink-stands and tomatoes. But as well as having perceptual experience of such objects, we also experience such ‘perceptual ephemera’ as, for instance, rainbows, surfaces, and stuff; things that are ephemeral in the sense that they can be contrasted, in selected respects, with material objects. This book collects together fourteen new essays on the perceptual experience of ‘ephemera’. A substantive introduction by the editors provides a detailed introduction to the topic as a whole, setting out the thematic background to this emerging area of research in contemporary philosophy of perception. The volume winds a path through the ephemeral that touches on sensibilia, shadows and absences, as well as on ephemeral topics that are less familiar: media, transparency, camouflage, solidity and ambient vision.

Few scholars of Intention remark upon the role that verbs of sensation play in Anscombe’s philosophy of action. I outline one reason for this neglect: an overemphasis on the Aristotelian practical syllogism. I then reflect on the role that dialogue plays in Anscombe’s treatment of human action and I show that this shift in emphasis unlocks a number of key concepts in Anscombe's account: those of ‘circumstance’, ‘distance’, the notion of a ‘picked-out’ set of movements, as well as that of ‘non-observational’ knowledge. I argue that the fact that our unmediated perception of the world is spatiotemporally limited shows up in Anscombe’s implicit descriptive phenomenology, something which brings Anscombe into conversation with Kant. More boldly, I suggest that that the way that human action and perception is structured in space and time explains, in part, the existence and form of the description of intentional action.

In his reference letter for Murdoch’s 1947 fellowship application at Newnham College, Cambridge, her erstwhile Oxford undergraduate tutor, Donald MacKinnon, remarks that Murdoch is ‘on the threshold of creative work of a high order’. This chapter outlines the nature of that ‘creative work’ and its early development. We show how Murdoch’s close study of the Christian existentialist philosopher and playwright Gabriel Marcel (1883–1973) came to inflect both her early critique of Jean Paul Sartre’s existentialism and her first attempts to show the limits of logical positivism. We explain how once at Cambridge, Murdoch’s exposure to Wittgenstein’s method, through her philosophical friendship with Elizabeth Anscombe, gave her the conceptual means to recast those aspects of Marcel’s thought (as well as those of Martin Buber) that she believed were important but, as she wrote in her application, ‘vague’. We show, finally, how both strands of Murdoch’s thinking are later brought into synchrony in the much-discussed example of M&D. This, in turn, allows us to isolate Murdoch’s understanding of the individual’s relation to their own ‘ghostly past’ and to reveal the importance of Murdoch’s early encounters with Anscombe and Marcel.