Since the book's first publication, interest in the role of the body and the senses has been emerging in both architectural philosophy and teaching. This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them.
The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

The world shows up for us - it is present in our thought and perception. But, as Alva Noe contends in his latest exploration of the problem of consciousness, it doesn't show up for free. The world is not simply available; it is achieved rather than given. As with a painting in a gallery, the world has no meaning - no presence to be experienced - apart from our able engagement with it. We must show up, too, and bring along what knowledge and skills we've cultivated. This means that education, skills acquisition, and technology can expand the world's availability to us and transform our consciousness. Although deeply philosophical, "Varieties of Presence" is nurtured by collaboration with scientists and artists. Cognitive science, dance, and performance art as well as Kant and Wittgenstein inform this literary and personal work of scholarship intended no less for artists and art theorists, psychologists, cognitive scientists, and anthropologists than for philosophers. Noe rejects the traditional representational theory of mind and its companion internalism, dismissing outright the notion that conceptual knowledge is radically distinct from other forms of practical ability or know-how. For him, perceptual presence and thought presence are species of the same genus. Both are varieties of exploration through which we achieve contact with the world. Forceful reflections on the nature of understanding, as well as substantial examination of the perceptual experience of pictures and what they depict or model are included in this far-ranging discussion.

The nature of perception has long been a central question in philosophy. It is of crucial importance not just in the philosophy of mind, but also in epistemology, metaphysics, aesthetics, and the philosophy of science. The essays in this 1992 volume not only offer fresh answers to some of the traditional problems of perception, but also examine the subject in light of contemporary research on mental content. A substantial introduction locates the essays within the recent history of the subject, and demonstrates the links between them. The Contents of Experience brings together some prominent philosophers in the field, and offers a major statement on a problem central to current philosophical thinking. Notable contributors include Christopher Peacocke, Brian O'Shaughnessy and Michael Tye.

Within the contemporary philosophical debates over the nature of perception, the question of whether perception has content in the first place recently has become a focus of discussion. The most common view is that it does, but a number of philosophers have questioned this claim. The issue immediately raises a number of related questions. What does it mean to say that perception has content? Does perception have more than one kind of content? Does perceptual content derive from the content of beliefs or judgments? Should perceptual content be understood in terms of accuracy conditions? Is naive realism compatible with holding that perception has content? This volume brings together philosophers representing many different perspectives to address these and other central questions in the philosophy of perception.

If a spinning disk casts a round shadow does this shadow also spin? When you experience the total blackness of a cave, are you seeing in the dark? Or are you merely failing to see anything (just like your blind companion)? Seeing Dark Things uses visual riddles to explore our ability to see shadows, silhouettes, and black birds--plus some things that are only metaphorically "dark" such as holes. These dark things are anomalies for the causal theory of perception which states that anything we see must be a cause of what we see. This orthodoxy successfully explains why you see the front of this page rather than its rear. However, the causal theory has trouble explaining how you manage to see the black letters on this page. The letters are made visible by the light they fail to reflect rather than the light they reflect. Nevertheless, Roy Sorensen defends the causal theory of perception by treating absences as causes. His fourteen chapters draw heavily on common sense and psychology to vindicate the assumption that we directly perceive absences. Seeing Dark Things is philosophy for the eye. It contains fifty-nine figures designed to prompt visual judgment. Sorensen proceeds bottom-up from observation rather than top-down from theory. He regards detailed analysis of absences as premature; he hopes a future theory will refine the pictorial thinking stimulated by the book's riddles. Just as the biologist pursues genetics with fruit flies, the metaphysician can study absences by means of shadows. Shadows are metaphysical amphibians with one foot on the terra firma of common sense and the other in the murky waters of non-being. Sorensen portrays the causal theory of perception's confrontation with the shadows as a triumph against alien attack--a victory that deepens a theory that resonates so strongly with common sense and science. In sum, Seeing Dark Things is an unorthodox defense of an orthodox theory.

"Desire and Distance" constitutes an important new departure in contemporary phenomenological thought, a rethinking and critique of basic philosophical positions concerning the concept of perception presented by Husserl and Merleau-Ponty, though it departs in significant and original ways from their work. Barbaras's overall goal is to develop a philosophy of what "life" is--one that would do justice to the question of embodiment and its role in perception and the formation of the human subject. Barbaras posits that desire and distance inform the concept of "life." Levinas identified a similar structure in Descartes's notion of the infinite. For Barbaras, desire and distance are anchored not in meaning, but in a rethinking of the philosophy of biology and, in consequence, cosmology. Barbaras elaborates and extends the formal structure of desire and distance by drawing on motifs as yet unexplored in the French phenomenological tradition, especially the notions of "life" and the "life-world," which are prominent in the later Husserl but also appear in non-phenomenological thinkers such as Bergson. Barbaras then filters these notions (especially "life") through Merleau-Ponty.

What is the nature of, and what is the relationship between, external objects and our visual perceptual experience of them? In this book, Frank Jackson defends the answers provided by the traditional Representative theory of perception. He argues, among other things that we are never immediately aware of external objects, that they are the causes of our perceptual experiences and that they have only the primary qualities. In the course of the argument, sense data and the distinction between mediate and immediate perception receive detailed defences and the author criticises attempts to reduce perceiving the believing and to show that the Representative theory makes the external world unknowable. Jackson recognises that his views are unfashionable but argues in detail that they are to be preferred to their currently favoured competitors. It will become an obvious point of reference for all future work on the philosophy of perception.

Perception and its puzzles have given rise to philosophical reflection from antiquity to recent times: What do we perceive? How do we talk about what we perceive? What is the nature of our subjective experience? How can we talk about our subjective experience? In this book a distinguished group of philosophers addresses questions like these by drawing on historical and contemporary sources, illuminating the intersections between historical and contemporary philosophical discussion. They ask about the way things look; about how we can perceive a particular object (and no other); about self-perception; and about the nature and explanation of our phenomenal experience, and our talk about it. The book provides important new work in a central philosophical area.

his book provides a comprehensive account of the intentionality of perceptual experience. With special emphasis on vision Searle explains how the raw phenomenology of perception sets the content and the conditions of satisfaction of experience. The central question concerns the relation between the subjective conscious perceptual field and the objective perceptual field. Everything in the objective field is either perceived or can be perceived. Nothing in the subjective field is perceived nor can be perceived precisely because the events in the subjective field consist of the perceivings , whether veridical or not, of the events in the objective field.
Searle begins by criticizing the classical theories of perception and identifies a single fallacy, what he calls the Bad Argument, as the source of nearly all of the confusions in the history of the philosophy of perception. He next justifies the claim that perceptual experiences have presentational intentionality and shows how this justifies the direct realism of his account. In the central theoretical chapters, he shows how it is possible that the raw phenomenology must necessarily determine certain form of intentionality. Searle introduces, in detail, the distinction between different levels of perception from the basic level to the higher levels and shows the internal relation between the features of the experience and the states of affairs presented by the experience. The account applies not just to language possessing human beings but to infants and conscious animals. He also discusses how the account relates to certain traditional puzzles about spectrum inversion, color and size constancy and the brain-in-the-vat thought experiments. In the final chapters he explains and refutes Disjunctivist theories of perception, explains the role of unconscious perception, and concludes by discussing traditional problems of perception such as skepticism.

This collection of essays by eminent philosopher Fred Dretske brings together work on the theory of knowledge and philosophy of mind spanning thirty years. The two areas combine to lay the groundwork for a naturalistic philosophy of mind. The fifteen essays focus on perception, knowledge, and consciousness. Together, they show the interconnectedness of Dretske's work in epistemology and his more contemporary ideas on philosophy of mind, shedding light on the links which can be made between the two. The first section of the book argues the point that knowledge consists of beliefs with the right objective connection to facts; two essays discuss this conception of knowledge's implications for naturalism. The next section articulates a view of perception, attempting to distinguish conceptual states from phenomenal states. A naturalized philosophy of mind, and thus a naturalized epistemology, is articulated in the third section. This collection will be a valuable resource for a wide range of philosophers and their students, and will also be of interest to cognitive scientists, psychologists, and philosophers of biology.

This book combines sensation and perception with all biological-sensory aspects of perception with all biological-sensory aspects of perception covered from an evolutionary point of view. It raises the key question: How do the senses gather and secure information about the outside world? This basic question is addressed by explaining how the physical world interacts with and stimulates the senses, and, in turn, how the sense and the nervous system transform, integrate, and process the stimulation.

Many different features of the world figure consciously in our perceptual experiences, in the sense that they make a subjective difference to those experiences. These features are thought to range from colours and shapes, to volumes and backsides, from natural or artefactual kinds, to reasons for perceptual belief, and from the existence and externality of objects, to the relationality and wakeful-ness of our perceptual awareness of them. Phenomenal Presence explores the different ways in which features like these may be phenomenally present in erceptual experience. In particular, it focuses on features that are rarely discussed, and the perceptual presence of which is more controversial or less obvious because they are out of view or otherwise easily overlooked; for example, they are given in a non-sensory manner, or they are categorical in the sense that they feature in all perceptual experiences (such as their justificatory power, their wakefulness, or the externality of their objects).
The book divides into four parts, each dealing with a different kind of phenomenal presence. The first addresses the nature of the presence of perceptual constancies and variations, while the second investigates the determinacy and ubiquity of the presence of spatial properties in perception. The third part deals with the presence of hidden or occluded aspects of objects, while part four discusses the presence of categorical aspects of perceptual experience. The contributions provide a thorough examination of which features are phenomenally present in perception, and what it is for them to figure in experience in this way.