Early modern empiricists thought that the nature of perceptual experience is given by citing the object presented to the mind in that experience. Hallucination and illusion suggest that this requires untenable mind-dependent objects. Current orthodoxy replaces the appeal to direct objects with the claim that perceptual experience is characterized instead by its representational content. This paper argues that the move to content is problematic, and reclaims the early modern empiricist insight as perfectly consistent, even in cases of illusion, with the (...) realist contention that these direct objects of perception are the persisting mind-independent physical objects we all know and love. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

Gilbert Ryle's distinction between knowledge-how and knowledge-that faces a significant challenge: accounting for the unity of knowledge. Jason Stanley, an ‘intellectualist’ opponent of Ryle's, brings out this problem by arguing that Ryleans must treat ‘know’ as an ambiguous word and must distinguish knowledge proper from knowledge-how, which is ‘knowledge’ only so-called. I develop the challenge and show that underlying Ryle's distinction is a unified vision of knowledge as ‘a capacity to get things right’, covering both knowledge-how and knowledge-that. I show (...) how Ryle specifies the general notion into knowledge-how and knowledge-that and discuss the mutual interdependence exhibited by the two forms of knowledge. Ryle's positive view of knowledge, properly understood, emerges as an important, neglected, alternative which should be brought back into the ongoing conversation about practical and theoretical knowledge. (shrink)

Charles Travis presents a series of essays on philosophy of perception, inspired by the insights of Gottlob Frege. He engages with a range of contemporary thinkers, and explores key issues including how perception can make the world bear on what we do or think, and what sorts of capacities we draw on in representing something as (being) something.

Epistemological disjunctivism in outline -- Favouring versus discriminating epistemic support -- Radical scepticsim.

Chapter 1: Ryle on Knowing How Chapter 2: Knowledge-wh Chapter 3: PRO and the Representation of First-Person Thought Chapter 4: Ways of Thinking Chapter 5: Knowledge How Chapter 6: Ascribing Knowledge How Chapter 7: The Cognitive Science of Practical Knowledge Chapter 8: Knowledge Justified Preface A fact, as I shall use the term, is a true proposition. A proposition is the sort of thing that is capable of being believed or asserted. A proposition is also something that is characteristically the (...) kind of thing that is true or false; that snow is white is a true proposition, that Barack Obama is President of the United States as I am writing these words is another. Facts in this sense are not only among the things we believe and assert; they are also the kinds of things we know. The thesis of this book is that knowing how to do something is the same as knowing a fact. It follows that learning how to do something is learning a fact. For example, when you learned how to swim, what happened is that you learned some facts about swimming. Knowledge of these facts is what gave you knowledge of how to swim. Something similar occurred with every other activity that you now know how to do, such as riding a bicycle or cooking a meal. You know how to perform activities solely in virtue of your knowledge of facts about those activities. (shrink)

In the first monograph in this exciting area since then, William Fish develops a comprehensive disjunctive theory, incorporating detailed accounts of the three ...