Perceptual experience is often said to be transparent; that is, when we have a perceptual experience we seem to be aware of properties of the objects around us, and never seem to be aware of properties of the experience itself. This is a introspective fact. It is also often said that we can infer a metaphysical fact from this introspective fact, e.g. a fact about the nature of perceptual experience. A transparency theory fills in the details for these two facts, (...) and bridges the gap between them. We have three aims: to scrutinize Michael Tye’s transparency theory :137–151, 2002; Consciousness revisited: materialism without phenomenal concepts, MIT Press, Cambridge, 2009; Philos Stud 170:39–57, 2014a), introduce a new transparency theory, and advance a meta-theoretical hypothesis about the interest, and import, of transparency theories. (shrink)

We argue that relationalism entails an unacceptable claim about the content of visual experience: that ordinary ‘red’ objects look like they look like they look like they’re red, etc.

When an object looks red to an observer, the visual experience of the observer has two important features. The experience visually represents the object as having a property—being red. And the experience has a phenomenological character; that is, there is something that it is like to have an experience of seeing an object as red. Let qualia be the properties that give our sensory and perceptual experiences their phenomenological character. This essay takes up two related problem for a nonreductive account (...) of qualia. Some have argued that on such an account there is no room in a physicalist ontology for qualia. Section 1 shows how qualia might fit into a physicalist ontology. The second problem begins with the observation that there is a gap in scientific accounts of color experience; there is no explanation of why the features of the brain that determine our color experiences give those experiences their phenomenological character. Building on the results of Sect. 1, Sect. 2 develops an account of color perception that bridges this gap and shows how qualia give color perception its phenomenological character. To get a grip on the issues involved the paper begins by considering some aspects of a physicalist account of color. (shrink)

To identify the set of reflectances that constitute redness, the authors must first determine which surfaces are red. They do this by relying on widespread agreement among us. However, arguments based on the possible ways in which humans would perceive colors show that mere widespread agreement among us is not a satisfactory way to determine which surfaces are red.

Objectivism and projectivism are standardly taken to be incompatible theories of color. Here we argue that this incompatibility is only apparent: objectivism and projectivism, properly articulated so as to deal with basic objections, are in fundamental agreement about the ontology of color and the phenomenology of color perception.

Several prominent philosophers have held that physical properties are dispositions. The aim of this paper is to establish the following conjunction: if the thesis that physical properties are dispositions is unsupplemented by controversial assumptions about dispositions, it entails a contradiction; and if it is so supplemented the resulting theory has the consequence that either many worlds which seem to be possible worlds are not possible worlds or some properties which seem to be identical are not identical. In this way it (...) is shown that a dispositional account of physical properties is implausible. (shrink)

THE CLAIM THAT IF GOLD HAS THE ATOMIC NUMBER 79 THEN GOLD NECESSARILY HAS THE ATOMIC NUMBER 79 IS SHOWN TO BE FALSE. THE KRIPKE-PUTNAM ARGUMENT FOR THIS CLAIM IS REWORKED TO SHOW THIS: IF A PROPERTY OF GOLD (LIKE ATOMIC NUMBER) PLAYS A BASIC ROLE IN A THEORY OF SUBSTANCE, THAT IS BOTH TRUE AND THE BEST MOST COMPREHENSIVE THEORY OF SUBSTANCE POSSIBLE, THEN GOLD NECESSARILY HAS THIS PROPERTY. 'BASIC ROLE' IS EXPLAINED.

When we watch movies, or are tricked by a trompe-l’oeil painting, we seem to be visually representing possible worlds; often non-actual possible worlds. This suggests that we really can visually represent possible worlds. The suggested claim is refined and developed here into a theory of visual experience that holds that all visual experiences, both veridical and non-veridical, represent possible worlds, many of which are non-actual.