Mohan Matthen

People do not appreciate unfamiliar art as deeply as those who have known it all their lives; empirical studies confirm that few features in any art category have universal appeal. From the eighteenth century onward, relatively few European philosophers built this diversity into the foundations of their aesthetic theories, and their critics argue that this deficiency stems from colonialist and other discriminatory ideologies. Recent analytic philosophers of art inherit some of this indifference to diversity, though some have fashioned tools that could assist in understanding the phenomenon. This introduction surveys highlights of this history.

Under certain conditions, synaesthesia would properly be understood as perception, i.e. as experience that affords the subject an accurate imagistic representation of some occurrence in the world that the subject understands as such. Perception is a true imagistic representation of the world concurrently around the perceiver, which, moreover, gives the perceiver unmediated reason to believe in what is so represented. Projector synaesthetes have an enhanced experience of what is known as the inducer stimulus. This experience includes a concurrent experience over and above the normal experience. I define direct synaesthesia as enhanced experience that gives direct reason to believe in the existence of the inducer (not the concurrent). Such direct projector synaesthesia is worth investigating because it seems, in short, to be enhanced perception of the inducer.

Denis Dutton died a day or two after Christmas in 2010. I had the good fortune to meet him in February 2010, when I participated in an Author-Meets-Critics session on The Art Instinct at the American Philosophical Association, Central Division. (The Critical Notice that follows is a development of my comments there.) Dennis was a passionate, intelligent, influential, and well connected man, who had a vigorous philosophical mind, fully on display in The Art Instinct. Outside of academic philosophy, he was famous as founder of the Arts and Letters Daily, the pre-eminent content-aggregating blog for intellectuals. It is in that capacity that he was obituarised in many of the world’s leading English-language ..

Higher animals need to identify and track material objects because they depend on interactions with them for nutrition, reproduction, and social interaction. This paper investigates the perception of material objects. It argues, first, that material objects are tagged, in all five external senses, as bearers of the features detected by them. This happens through a perceptual process, here entitled Generalized Completion, which creates the appearance of objects that have properties that transcend the activation of sensory receptors. The paper shows, secondly, that material objects are privileged subjects for perceived motion and interaction. That is, they are perceived as subjects for these properties while their parts seem to be subjects only derivatively. Material objects are the only perceptual subjects that are both multisensory and privileged.

Molyneux addressed his question to Locke in two forms. The question that is most often discussed in the literature is the 1693 version–about whether a newly sighted man could distinguish a globe and a cube when they are presented to his sight alone. But in 1688, he asked whether this man could know which was the globe. While Locke and Molyneux probably thought this an unnecessary add-on, we argue that it changes the question. Locke had no account of how one could know a contingent singular fact by sight or by vision. We argue that we know in these ways by using a process of active sensory exploration that employs the modality in question. A new form of Molyneux’s question emerges from this understanding of perceptual knowledge. While the variety of sensory exploration methods within and across modalities raises considerable difficulties for a positive answer, the original question, like the later version, can ultimately be answered only by empirical investigation.

In this short paper, I outline four philosophical arguments concerning the objects we perceive. These arguments build up to the conclusion that the objects of perceptual experience are material objects. I then show that the first three of these arguments parallel important psychological positions in vision science. Thus, (1) the notion of object used in Logical Atomism resembles the concept as it is defined in the Feature Integration Theory of Treisman and Gelade (1980). But (2) Frank Jackson's (1975) Many-Property Problem leads to a substrate-quality structure for visual experience that corresponds to the structure of attended experience in Feature Integration Theory. A third philosophical argument (3) concerns the perception of movement. This argument culminates in the proposition that perceptual features are seen as belonging to material objects. There is a close resemblance between these objects and those of Zenon Pylyshyn's (1980) FINSTs. Finally, (4) I argue that material objects are the only substrates of multimodal perceptual experience. Perceptual psychology has yet to investigate this structure.

Hunger is a psychological state that serves physiological energy homeostasis. I argue that it is a pure underived desire to eat and examine its role in homeostasis. After scene‐setting explanations of homeostasis and desire, I argue that hunger is a close phenomenological match with underived desire. Then, I show why desire is an apt instrument for energy homeostasis. Finally, I argue that energy homeostasis is a multi‐factorial future‐regarding behavioural strategy. Hunger is a special purpose sensory state that serves only to implement the strategy. Thus, it is a sensory desire. I conclude by reflecting on the credibility of this desire.

All living things have sensory capacities. Plants, in particular, have sensory receptors, transduce the activations of these receptors, and process these outputs in order to manage actions that demand sensory integration. However, there is a kind of sensory function that plants cannot perform. They cannot sense something as other than themselves. Animals, by contrast, perceive. They experience two kinds of "othering impressions"—impressions of entities as located outside and available for interaction, and hence as distinct from the perceiving subject. First, they represent external entities in a "body scheme" that enables sensorimotor interaction with these entities. Second, higher animals such as mammals and birds and possibly fish, represent these entities as located relative to a "cognitive map." These othering impressions are very important because they are the foundation for the human conceptions of the self and other.

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account of aesthetic diversity, and they engage in a collective dialogue about these issues.

Hunger is a psychological state that serves physiological energy homeostasis. I argue that it is a pure underived desire to eat and examine its role in homeostasis. After scene-setting explanations of homeostasis and desire, I argue that hunger is a close phenomenological match with underived desire. Then, I show why desire is an apt instrument for energy homeostasis. Finally, I argue that energy homeostasis is a multi-factorial future-regarding behavioural strategy. Hunger is a special purpose sensory state that serves only to implement the strategy. Thus, it is a sensory desire. I conclude by reflecting on the credibility of this desire.

What colour does a white wall look in the pinkish light of the late afternoon? Philosophers disagree: they hold variously that it looks pink, white, both, and no colour at all. A new approach is offered. After reviewing the dispute, a reinterpretation of perceptual constancy is offered. In accordance with this reinterpretation, it is argued that perceptual features such as color must always be predicated of perceptual objects. Thus, it might be that in pinkish light, the wall looks white and the light looks pink. The paper concludes by discussing some criteria for object identification in perceptual states.

John Campbell argues that visual attention to objects is the means by which we can refer to objects, and that this is so because conscious visual attention enables us to retrieve information about a location. It is argued here that while Campbell is right to think that we visually attend to objects, he does not give us sufficient ground for thinking that consciousness is involved, and is wrong to assign an intermediary role to location. Campbell’s view on sortals is also queried, as is his espousal of the so-called Referential View of Experience.

Scientists are often bemused by the efforts of philosophers essaying a theory of colour: colour science sports a huge array of facts and theories, and it is unclear to its practitioners what philosophy can or is trying to contribute. Equally, philosophers tend to be puzzled about how they can fit colour science into their investigations without compromising their own disciplinary identity: philosophy is supposed to be an a priori investigation; philosophers do not work in psychophysics labs – not in their professional capacity, anyway.These inter-disciplinary barriers arise out of misunderstanding. Philosophers should not so much attempt to contribute to empirical theories of colour, as to formulate philosophical theories of colour. Philosophy is concerned with appearance and reality, object and property, function and representation, and other such fundamental categories of ontology and epistemology. Philosophical theories attempt to fit colour into these categories; such theories do not compete with colour science. However, fitting colour into philosophical theories means dealing with colour as it really is – and one cannot know what it is without consulting the psychologists. That is why philosophers need an up-to-date understanding of psychological theories of colour.

This is the editors' Introduction to a special issue of the journal, Multisensory Research. European philosophers of the modern period found multisensory perception to be impossible because they thought that perceptual ideas are defined by how they are experienced. Under this conception, the individual modalities are determinables of ideas—just as colour is a determinable that embraces red and blue, so also the visual is a determinable that embraces colour and (visually experienced) shape. Since no idea is experienced as, for example, both visual and auditory, there can be no such thing as audiovisual perception. This conception of modality is not directly contested, but a variety of perceptual phenomena are listed that could raise interesting questions if treated as multimodal in origin.

Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a larger project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food.