Rene Jagnow

Paintings can exert a strong effect on their viewers by creating atmospheres. But how is it possible for a painting to create an atmosphere? My goal in this paper is to provide a partial answer to this question by focusing on the depiction of light. I argue that paintings can elicit experiences of atmospheres in part because they can depict pictorial space as filled with ambient light that has a distinctive phenomenal character. It is in virtue of this distinctive phenomenal character that the depicted ambient light can make a significant contribution to the overall phenomenal character of the experienced atmosphere.

A common view in the philosophy of perception holds that states of seeing objects face to face have particular contents. When you see, say, a dog face to face, your visual state represents the particular dog that is in front of you. In this paper, I argue for a related claim about states of seeing objects in conventional photographs. When you see a dog in a photograph, for example, your visual state represents the particular dog that was in front of the camera when the photograph was taken, that is, the photograph's depictum. The argument in this paper proceeds in two steps. In the first step, I discuss states of seeing objects face to face. I argue that such a state represents the particular object whose surface is responsible for the optical information that the visual system uses to construct the state's attributive representational content. In the second step, I apply the result of this discussion to states of seeing objects in photographs. I argue that a state of seeing an object in a photograph has a particular content that represents the object that was in front of the camera when the photograph was taken.

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense.

In his paper “Double Vision, Phosphenes and Afterimages: Non-Endorsed Representations rather than Non-Representational Qualia,” Işık Sarıhan addresses the debate between strong representationalists and qualia theorists. He argues that qualia theorists like Ned Block and Amy Kind who cite double-vision, afterimages, etc., as evidence for the existence of qualia are mistaken about the actual nature of these states. According to Sarıhan, these authors confuse the fact that these states are non-endorsed representational states with the fact that they are at least partly non-representational. I argue that Sarıhan’s argument contains gaps that suggest that he misidentifi es the mistake that leads these qualia theorists to their conclusion. In my view, these qualia theorists do not confuse the fact that the states in question are non-endorsed states with the fact that they are non-representational, but rather mistake certain representational contents, or certain aspects of these contents, for qualia.

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense.

Perceptual experiences inform us about objective properties of things in our environment. But they also have perspectival character in the sense that they differ phenomenally when objects are viewed from different points of view. Contemporary representationalists hold, at a minimum, that phenomenal character supervenes on representational content. Thus, in order to account for perspectival character, they need to indentify a type of representational content that changes in appropriate ways with the perceiver’s point of view. Many representationlists, including Shoemaker and Lycan, argue that such contents are best construed in terms of mind-dependent properties. Other representationalists, including Tye and Dretske, hold that these contents involve only mind-independent properties. Susanna Schellenberg has recently developed an account of perceptual experience that would serve these latter representationalists extremely well. She suggests that we can do justice to the perspectival character of perceptual experience by appeal to representations of a certain type of relational properties, so-called ‘situation-dependent properties.’ In this paper, I critically engage with Schellenberg’s proposal in order to show how mind-independent representationalists can explain perspectival character. I argue that appeal to situation-dependent properties is problematic. I then show that mind-independent representationalists can account for perspectical character by means of scenario contents in Christopher Peacocke’s sense

According to the monitoring theory of consciousness, a mental state is conscious in virtue of being represented in the right way by a monitoring state. David Rosenthal, William Lycan, and Uriah Kriegel have developed three different influential versions of this theory. In order to explain colour experiences, each of these authors combines his version of the monitoring theory of consciousness with a specific account of colour representation. Even though Rosenthal, Lycan, and Kriegel disagree on the specifics, they all hold that colours are represented by a single type of mental state. The main goal of this paper is to show that a more complex account of colour representation is needed for the monitoring theory of consciousness to do justice to the phenomenology of colour experiences. In particular, I will argue that the fine-grained character of colour experience—that is, the fact that perceivers can become conscious of small differences between colours—requires that colour representation be construed in terms of two different types of mental states, namely sensory states that represent appearance properties and colour representations that represent physical colours.

In this thesis, I investigate the nature of geometric knowledge and its relationship to spatial intuition. My goal is to rehabilitate the Kantian view that Euclid's geometry is a mathematical practice, which is grounded in spatial intuition, yet, nevertheless, yields a type of a priori knowledge about the structure of visual space. I argue for this by showing that Euclid's geometry allows us to derive knowledge from idealized visual objects, i.e., idealized diagrams by means of non-formal logical inferences. By developing such an account of Euclid's geometry, I complete the "standard view" that geometry is either a formal system or an empirical science, which was developed mainly by the logical positivists and which is currently accepted by many mathematicians and philosophers. My thesis is divided into three parts. I use Hans Reichenbach's arguments against Kant and Edmund Husserl's genetic approach to the concept of space as a means of arguing that the "standard view" has to be supplemented by a concept of a geometry whose propositions have genuine spatial content. I then develop a coherent interpretation of Euclid's method by investigating both the subject matter of Euclid's geometry and the nature of geometric inferences. In the final part of this thesis, I modify Husserl's phenomenological analysis of the constitution of visual space in order to define a concept of spatial intuition that allows me not only to explain how Euclid's practice is grounded in visual space, but also to account for the apriority of its results.

Which properties can we visually experience? Some authors hold that we can experience only low-level properties such as color, illumination, shape, spatial location, and motion. Others believe that we can also experience high-level properties, such as being a dog or being a pine tree. On the basis of her method of phenomenal contrast, Susanna Siegel has recently defended the latter view. One of her central claims is that we can best account for certain phenomenal contrasts if we assume that we can visually experience natural kind properties. In this paper, I argue that certain kinds of low-level properties, namely shape-gestalt properties, can explain these phenomenal contrasts just as well as high-level properties. If successful, this is a modest, but nevertheless significant result. Even though it does not prove the falsity of Siegel’s proposal, it nevertheless secures the existence of a plausible alternative.

It is a common assumption among philosophers of perception that phenomenal colors are exhaustively characterized by the three phenomenal dimensions of the color solid: hue, saturation and lightness. The hue of a color is its redness, blueness or yellowness, etc. The saturation of a color refers to the strength of its hue in relation to gray. The lightness of a color determines its relation to black and white. In this paper, I argue that the phenomenology of shadows forces us to consider illumination as an additional dimension of phenomenal colors. For this purpose, I will first introduce two different interpretations of shadow-experiences, which Chalmers has called the simple and the complex interpretations, and show that they both fail to account for important phenomenal facts about shadow-experiences. I will then introduce my own alternative interpretation based on the idea that illumination is a dimension of phenomenal colors and explain how it can account for these facts.

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique the phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account.

In this paper, I defend a representationalist account of the phenomenal character of color experiences. Representationalism, the thesis that phenomenal character supervenes on a certain kind of representational content, so-called phenomenal content, has been developed primarily in two different ways, as Russellian and Fregean representationalism. While the proponents of Russellian and Fregean representationalism differ with respect to what they take the contents of color experiences to be, they typically agree that colors are exhaustively characterized by the three dimensions of the color solid: hue, saturation, and lightness. I argue that a viable version of representationalism needs to renounce this restriction to three dimensions and consider illumination to be a genuine phenomenal dimension of color. My argument for this thesis falls into two parts. I first consider the phenomenon of color constancy in order to show that neither Russellian nor Fregean representationalism can do justice to the phenomenal significance of local illumination. I subsequently formulate a version of representationalism that accounts for illumination by taking it as a phenomenal dimension of color.

How is it possible for a picture to depict a picture? Proponents of perceptual theories of depiction, who argue that the content of a picture is determined, in part, by the visual state it elicits in suitable viewers, that is, by a state of seeing-in, have given a plausible answer to this question. They say that a picture depicts a picture, in part, because, under appropriate conditions of observation, a suitable viewer will be able to see a picture in the picture. In this article, I first argue that this answer is in conflict with the way in which some of the most influential perceptual theories of depiction – Robert Hopkins's version of the experienced resemblance theory and Dominic Lopes's version of the recognition theory – construe seeing-in. I then formulate a version of the recognition theory that avoids this conflict and show how it can explain the depiction of pictures.

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique the phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account.

In this interesting and engaging book, Shabel offers an interpretation of Kant's philosophy of mathematics as expressed in his critical writings. Shabel's analysis is based on the insight that Kant's philosophical standpoint on mathematics cannot be understood without an investigation into his perception of mathematical practice in the seventeenth and eighteenth centuries. She aims to illuminate Kant's theory of the construction of concepts in pure intuition—the basis for his conclusion that mathematical knowledge is synthetic a priori. She does this through a contextualized interpretation of his notion of mathematical construction, which she argues can be approached by looking at Euclid's Elements and Christian Wolff's mathematical textbooks. The importance of the former for her interpretation is justified by the fact that nearly all of Kant's mathematical examples in the Critique are Euclidean propositions. The importance of the latter is revealed through the fact that Wolff's textbooks were not only widely read and representative of the state of elementary mathematics during Kant's time; Kant was also intimately familiar with them. During the thirty years prior to the publication of the Critique, he used the textbooks in the college-level introductory courses in mathematics and physics that he taught.In the introduction to her book, Shabel helpfully distinguishes her approach to Kant's philosophy of mathematics from that of previous commentators. She points out that most commentators assessed Kant's thoughts on mathematics in terms of the ‘supposedly devastating effects of the discovery of non-Euclidean geometry on his theory of space’ .1 Bertrand Russell, for example, criticized Kant for his lack of a proper …

Representationalists hold that the phenomenal character of a perceptual experience is identical with, or supervenes on, an aspect of its representational content. As such, representationalism could be disproved by a counter-example consisting of two experiences that have the same representational content but differ in phenomenal character. In this paper, I discuss two recently proposed counter-examples to representationalism that involve ambiguous or reversible figures. I pursue two goals. My first, and most important, goal is to show that the representationalist can offer plausible responses to both counter-examples. My second goal is to show the implications of these responses for the nature of the spatial representational contents of perceptual experiences