Kim Soland

Attention makes a phenomenal difference to visual experience, but the nature of this difference is controversial. There are three possibilities. The first is that the phenomenology of visual attention has deflationary content, which is to say that attention makes a phenomenal difference only by modulating the appearance of an attended object's visible features. Secondly, it has novel content—attention contributes unique representational content to visual experience. Thirdly, it has no content—the phenomenal contribution of attention to visual experience is not representational at all. I argue that problems for deflationary content and no content accounts motivate a novel content account of visual attentional phenomenology. I develop a novel content account which avoids challenges that have hitherto been presumed devastating for such views. The resulting theory vindicates representationalism about visual experience and is poised to do the same for experiences in other perceptual modalities.

In this paper I challenge the widely held assumption that loudness is the perceptual correlate of sound intensity. Drawing on psychological and neuroscientific evidence, I argue that loudness is best understood not as a representation of any feature of a sound wave, but rather as a reflection of the salience of a sound wave representation; loudness is determined by how much attention a sound receives. Loudness is what I call a quantitative character, a species of phenomenal character that is determined by the amount of attention that an underlying perceptual representation commands. I distinguish quantitative from qualitative character; even qualitative characters that represent degrees of sensible magnitudes are phenomenally and functionally distinct from quantitative characters. A bifurcated account of phenomenal character emerges; the phenomenal is not exhausted by the qualitative.

I advance an account of quantitative character, a species of phenomenal character that presents as an intensity (cf. a quality) and includes experience dimensions such as loudness, pain intensity, and visual pop-out. I employ psychological and neuroscientific evidence to demonstrate that quantitative characters are best explained by attentional processing, and hence that they do not represent external qualities. Nonetheless, the proposed account of quantitative character is conceived as a compliment to the reductive intentionalist strategy toward qualitative states; I argue that an account of perceptual experience that combines a tracking account of qualitative character with my functionalist proposal for quantitative character permits replies to some notoriously difficult problems for tracking representationalism without sacrificing its chief virtues.