Nick Young

It is natural to describe many pictures as of movement. We might for example say that a painting is of a horse rearing up, or a dog scurry along the pavement. The topic of this paper is how this “of” should be understood. Can a static picture depict movement, or is movement merely represented by, or suggested by, pictures, in some non-pictorial way? We argue that movement can be depicted and not merely represented. We examine three different views put forward by Le Poidevin, and use his third as a basis for our own view of movement depiction, which is a version of Hopkins’s experienced resemblance theory of depiction.

Philosophical accounts of design aesthetics typically focus on either an object’s perceived fitness for function or on how well it fulfils its intended purpose. This focus, however, overlooks the phenomenology of using designed objects. This paper argues for the importance of this aspect of design aesthetics and subsequently considers how best to characterise this type of aesthetically pleasing agentive experience. First, drawing on work in the aesthetics of games and dance, we argue that aesthetically pleasing use is characterised by a feeling of effortlessness: the experience of performing complex actions with a sense of ease. Second, we argue that the agentive aesthetics of design differs from that of games or dance because it is embedded in everyday life in a way that games and dance are not. Unlike those made as part of a game or dance performance, the beautiful actions elicited by a well-designed object are performed in the light of a user’s goals, interests, and values.

What are the sensory individuals of audition? What are the entities our auditory system attributes properties to? We examine various proposals about the nature of the sensory individuals of audition, and show that while each can account for some aspects of auditory perception, each also faces certain difficulties. We then put forward a new conception of sensory individuals according to which auditory sensory individuals are composite individuals. A feature shared by all existing accounts of sounds and sources is that they postulate sensory individuals that are non-composite. They identify the sensory individual of sound hearing or source hearing with one type of entity in the environment, be they sound waves, vibrations, or interactions. We question this assumption and argue that our perceptual systems represent two or more aspects of the environment as a single sensory individual. Finally, we show that taking auditory individuals to be composite sensory individuals allows for an account of audition that is less problematic than its existing alternatives.

In this paper, we argue that Midjourney—a generative AI program that transforms text prompts into images—should be understood not as an agent or a tool, but as a new type of artistic medium. We first examine the view of Midjourney as an agent, considering whether it could be seen as an artist or co-author. This perspective proves unsatisfactory, as Midjourney lacks intentionality and mental states. We then explore the notion of Midjourney as a tool, highlighting its unpredictability and the limited fine-grained control users have over its outputs, which sets it apart from traditional artistic tools. We propose that creating images with Midjourney parallels a gardener's interaction with natura naturans—nature's autonomous generative processes. Similarly, Midjourney acts as machina naturans, where users engage with its dynamic recalcitrance to influence, but not fully control, the creative process. This approach presents Midjourney as an artistic medium shaped by its inherent unpredictability.

The aim of this paper is to explore the minimal representational requirements for pointing. One year old children are capable of pointing – what does this tell us about their representational capacities? We analyse three options: (1) pointing presupposes non-perceptual representations, (2) pointing does not presuppose any representation at all, (3) pointing presupposes perceptual representations. Rather than fully endorsing any of these three options, the aim of the paper is to explore the advantages and disadvantages of each.

Here, I put forward a new account of how experience gives rise to the belief that time passes. While there is considerable disagreement amongst metaphysicians as to whether time really does pass, it has struck many as a default, ‘common sense’ way of thinking about the world. A popular way of explaining how such a belief arises is to say that it seems perceptually as though time passes. Here I outline some difficulties for this approach, and propose instead that the belief in time passing is elicited by a particular feature of agentive experience. When we deliberately move our bodies, bring something to mind, or focus our attention, we experience ourselves as the sources of these actions. Sensing oneself as a source, I argue, is a unique type of change experience, one which leads us to a belief that time is passing.

Through hearing we learn about source events: events in which objects move or interact so that they vibrate and produce sound waves, such as when they roll, collide, or scrape together. It is often claimed that we do not simply hear sounds and infer what event caused them, but hear source events themselves, through hearing sounds. Here I investigate how the idea that we hear source events should be understood, with a focus on how hearing an event relates to hearing the objects involved in that event. I argue that whereas we see events such as rollings and collisions by seeing objects move through space, this cannot be how we hear them, and go on to examine two other possible models. On the first, we hear events but not their participant objects. On the second, to hear an event is to hear the appearance of an object to change. I argue that neither is satisfactory and endorse a third option: to hear a source event is to hear an object as extending through time.

In this paper I argue that empty space can be heard. This position contrasts with the generally held view that the only things that can be heard are sounds, their properties, echoes, and perhaps sound sources. Specifically, I suggest that when sounds reverberate in enclosed environments we auditorily represent the volume of space surrounding us. Clearly, we can learn the approximate size of an enclosed space through hearing a sound reverberate within it, and so any account that denies that we hear empty space must instead show how beliefs about volumes of space can be derived indirectly from what is heard. That is, if space is not auditorily represented when we hear sounds reverberate, what is? I consider whether hearing reverberation can be thought of as hearing a distinct sound, hearing echoes, or hearing a property of a sound. I argue that experiences of reverberation cannot be reduced to the perception of any of these types and that therefore empty space is represented in auditory perceptual content. In the final section I outline two ways in which space might be represented.