Douglas Wadle

Felix reaches up to catch a high line drive to left field and fires the ball off to Benji at home plate, who then tags the runner trying to score. For Felix to catch the ball and transfer it from his glove to his throwing hand, he needs to have a sense of where his hands are relative to one another and the rest of his body. This sort of information is subconsciously tracked in the body schema (or postural schema), a representation of the current bodily posture that is updated on the basis of proprioceptive inputs. While the existence of the body schema in not in dispute, its origin is. After reviewing the competing proposals, I introduce the conceptual tools needed to move the debate forward and apply them to the question of the extent to which the body schema could be learned from perceptual input in utero. I argue that it could give rise to something recognizable as the body schema, though not quite rising to the level of the mature body schema. After considering the implications for further research on the origins of the body schema, I show how these results apply to other body representations, helping clarify the vexing question of the number, nature, and interactions among body representations in the brain. This theoretical work also promises to advance our understanding and treatment protocols for disorders affecting such body representations (e.g., anorexia nervosa).

Studies of visual event individuation often consider people's representations of activities involving agents performing complex tasks. Concomitantly, theories of event individuation emphasize predictions about agents' intentions. Studies that have examined simple, non-agential occurrences leave open the possiblity that principles of visual object individuation play a role in visual event individuation. Unearthing principles that may be sufficient for event individuation which are distinct both from predictions about agents' intentions and from visual object individuation, we draw on and extend studies that reveal object and event representation to be deeply analogous in our cognitive economy. We provide evidence that ‘temporal shaping' is a sufficient low-level perceptual criterion for the visual individuation of events. In our study, temporal shaping is effected by the introduction of pauses into an otherwise continuous process. Future studies should address other visual mechanisms for introducing temporal shaping (e.g., color changes).

In this paper I argue that composer John Cage’s so-called ‘silent piece’, 4’33”, is music. I first defend it against the charge that it does not involve the organization of sound, which has been taken to be a necessary feature of music. I then argue that 4’33” satisfies the only other condition that must be met for it to be music: it bears the right socio-historical connections to its predecessors within its tradition (Western art music). I argue further that one cannot understand the organized sound condition and the socio-historical condition separately and that understanding their interaction has theoretical benefits—not least of which is providing a groundwork for a more culturally inclusive philosophy of music. Finally, I consider a number of outstanding questions concerning the content of the organized sound condition for Western art music in the wake of 4’33”.

Some philosophers have argued that we do not hear sounds as located in the environment. Others have objected that this straightforwardly contradicts the phenomenology of auditory experience. And from this they draw metaphysical conclusions about the nature of sounds—that they are events or properties of vibrating surfaces rather than waves or sensations. I argue that there is a minimal, but recognizable, notion of audition to which this phenomenal objection does not apply. While this notion doesn’t correspond to our ordinary notion of auditory experience, it does—in conjunction with our lack of an uncontroversial individuation of the senses and recent interest in distinctively multisensory features of perceptual experiences—raise the possibility of more expansive notions of audition, including some that do plausibly count as corresponding to our everyday notion of audition, that lack the spatial phenomenology cited in the objection. Until this possibility is ruled out, the phenomenal objection and metaphysical conclusions drawn from it remain inconclusive.

In _Leviathan_, Hobbes embraces three seemingly inconsistent claims: (i) the unity of a multitude is secured only by the unity of its representer, (ii) assemblies can represent other multitudes, and (iii) assemblies are, or are constituted by, multitudes. Together these claims require that a representative assembly, itself, be represented. If that representer is another assembly, it too will need a unifying representer, and so on. To stop a regress, we will need an already unified representer. But a multitude can only speak or act through its representer, and an assembly is a multitude, so any representing done by the assembly is actually done by this already unified, regress-stopping representer. That is, if (i) and (iii) are true, (ii) cannot be. I will argue that this inconsistency is only apparent and that we can resolve it without rejecting any of these three claims. We do this by appealing to a representer-as-decision-procedure meeting certain criteria. Such a procedural representer breaks the transitivity of representation such that the assembly it represents can properly represent some further multitude. I proceed in my defense of the procedural representer view by addressing a series of problems it faces, the solutions to which give us a progressively clearer picture of the criteria this representer must meet.

Is the flavor of mint reducible to the minty smell, the taste, and the menthol-like coolness on the roof of one’s mouth, or does it include something over and above these—something not properly associated with any one of the contributing senses? More generally, are there features of perceptual experiences—so-called novel features—that are not associated with any of our senses taken singly? This question has received a lot of attention of late. Yet surprisingly little attention has been paid to the question of what it means to say that a feature is associated with a sensory modality in the first place. Indeed, there is only one fully developed proposal in the literature, due to Casey O’Callaghan. I argue that this proposal is too permissive to inform the debate over novel features. I go on to argue that all attempts to formulate a better proposal along these lines fail. The corollary of my arguments is that the question of the existence of novel features is poorly formed. Furthermore, the problem generalizes, with the result that we should not rely on our pre-theoretical notions of the senses as the basis of theorizing about the features of perceptual experiences.