Javascript Menu by Deluxe-Menu.com
MindPapers is now part of PhilPapers: online research in philosophy, a new service with many more features.
 
 Compiled by David Chalmers (Editor) & David Bourget (Assistant Editor), Australian National University. Submit an entry.
 
   
click here for help on how to search

3.2c. Other Sensory Modalities (Other Sensory Modalities on PhilPapers)

See also:
Almagor, Uri (1990). Odors and private language: Observations on the phenomenology of scent. Human Studies 13 (3):253-274.   (Cited by 5 | Google | More links)
Appelbaum, David (1988). The Interpenetrating Reality: Bringing The Body To Touch. Lang.   (Google)
Armstrong, David M. (1963). Vesey on sensations of heat. Australasian Journal of Philosophy 41 (December):359-362.   (Google | More links)
Belardinelli, Marta Olivetti & Di Matteo, Rosalia (2002). Is mental imagery prominently visual? Behavioral and Brain Sciences 25 (2):204-205.   (Google)
Abstract: Neuroimaging and psychophysiological techniques have proved to be useful in comprehending the extent to which the visual modality is pervasive in mental imagery, and in comprehending the specificity of images generated through other sensory modalities. Although further research is needed to understand the nature of mental images, data attained by means of these techniques suggest that mental imagery requires at least two distinct processing components
Biernoff, Suzannah (2002). Sight and Embodiment in the Middle Ages. Palgrave Macmillan.   (Google)
Abstract: Sight and Embodiment in the Middle Ages breaks new ground by bringing postmodern writings on vision and embodiment into dialogue with medieval texts and images: an interdisciplinary strategy that illuminates and complicates both cultures. This is an invaluable reference work for anyone interested in the history and theory of visuality, and it is essential reading or scholars of art, science, or spirituality in the medieval period
DeBellis, Mark (1991). The representational content of musical experience. Philosophy and Phenomenological Research 51 (June):303-24.   (Cited by 6 | Annotation | Google | More links)
Humphrey, Nicholas (2001). Doing it my way: Sensation, perception – and feeling red. Behavioral and Brain Sciences 24 (5):987-987.   (Google)
Abstract: The theory presented here is a near neighbour of Humphrey's theory of sensations as actions. O'Regan & Noë have opened up remarkable new possibilities. But they have missed a trick by not making more of the distinction between sensation and perception; and some of their particular proposals for how we use our eyes to represent visual properties are not only implausible but would, if true, isolate vision from other sensory modalities and do little to explain the phenomenology of conscious experience in general
Ihde, Don (1976). Listening And Voice: A Phenomenology Of Sound. Ohio University Press.   (Cited by 32 | Google)
Ihde, Don (1982). On hearing shapes, surfaces and interiors. In Phenomenology Dialogues & Bridges. Suny.   (Google)
Ihde, Don (1966). Some auditory phenomena. Philosophy Today 10:227-235.   (Google)
Knuuttila, Simo & Kärkkäinen, Pekka (eds.) (2008). Theories of Perception in Medieval and Early Modern Philosophy. Springer.   (Google)
Macpherson, Fiona (1999). Perfect pitch and the content of experience. Philosophy and Anthropology 3 (2).   (Google | More links)
Matthen, Mohan (2010). On the diversity of auditory objects. Review of Philosophy and Psychology 1 (1):63-89.   (Google | More links)
Abstract: This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects
Mattens, Filip (2009). Perception, body, and the sense of touch: Phenomenology and philosophy of mind. Husserl Studies 25 (2).   (Google)
Abstract: In recent philosophy of mind, a series of challenging ideas have appeared about the relation between the body and the sense of touch. In certain respects, these ideas have a striking affinity with Husserl’s theory of the constitution of the body. Nevertheless, these two approaches lead to very different understandings of the role of the body in perception. Either the body is characterized as a perceptual “organ,” or the body is said to function as a “template.” Despite its focus on the sense of touch, the latter conception, I will argue, nevertheless orients its understanding of tactual perception toward visual objects. This produces a distorted conception of touch. In this paper, I will formulate an alternative account, which is more faithful to what it is like to feel
Mole, Christopher (2009). The Motor Theory of Speech Perception. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oxford University Press.   (Google)
Montgomery, Edmund (1885). Space and touch, I. Mind 10 (38):227-244.   (Google | More links)
Montgomery, Edmund (1885). Space and touch, II. Mind 10 (39):377-398.   (Google | More links)
Morton, Thomas H. (2000). Archiving odors. In Of Minds and Molecules: New Philosophical Perspectives on Chemistry. New York: Oxford University Press.   (Cited by 1 | Google)
Nudds, Matthew & O'Callaghan, Casey (eds.) (2010). Sounds and Perception: New Philosophical Essays. Oxford University Press.   (Google)
O'Callaghan, Casey (2009). Audition. In John Symons & Paco Calvo (eds.), The Routledge Companion to Philosophy of Psychology.   (Google)
Abstract: Provides the theoretical and psychological framework to the philosophy of sounds and audition. I address auditory scene analysis, spatial hearing, the audible qualities, and cross-modal interactions.
O'Callaghan, Casey (2009). Introduction: The Philosophy of Sounds and Auditory Perception. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oxford University Press.   (Google)
O'Callaghan, Casey (ms). Pitch.   (Google)
Abstract: Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have
O'Callaghan, Casey (2009). Sounds. In Timothy J. Bayne, Axel Cleeremans & P. Wilken (eds.), Oxford Companion to Consciousness. Oup.   (Cited by 3 | Google)
O'Callaghan, Casey (2007). Sounds: A Philosophical Theory. Oxford University Press.   (Google | More links)
Abstract: ... ISBN0199215928 ... Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned.
O'Callaghan, Casey (2009). The world of sound. The Philosophers' Magazine.   (Google)
O'Shaughnessy, Brian (1957). An impossible auditory experience. Proceedings of the Aristotelian Society 57:53-82.   (Cited by 1 | Google)
Price, H. H. (1944). Touch and organic sensation. Proceedings of the Aristotelian Society 44:I.   (Cited by 2 | Google)
Rolston, Howard L. (1965). Kinaesthetic sensations revisited. Journal of Philosophy 62 (February):96-100.   (Cited by 1 | Google | More links)
Scott, M. (2001). Tactual perception. Australasian Journal of Philosophy 79 (2):149-160.   (Cited by 1 | Google | More links)
Serres, Michel (2009). The Five Senses: A Philosophy of Mingled Bodies. Continuum.   (Google)
Abstract: Veils -- Boxes -- Tables -- Visit -- Joy.
Shiner, Roger A. (1979). Sense-experience, colours and tastes. Mind 88 (April):161-178.   (Google | More links)
Sorensen, Roy A. (2009). Hearing silence: The perception and introspection of absences. In Matthew Nudds & Casey O'Callaghan (eds.), Sounds and Perception. Oxford University Press.   (Google)
Abstract: in Sounds and Perception: New Philosophical Essays, ed. by Matthew Nudds and Casey O’Callaghan (Oxford University Press, forthcoming in 2008)
Sorensen, Roy A. (2008). Seeing Dark Things: The Philosophy of Shadows. Oxford University Press.   (Google)
Abstract: The eclipse riddle -- Seeing surfaces -- The disappearing act -- Spinning shadows -- Berkeley's shadow -- Para-reflections -- Para-refractions : shadowgrams and the black drop -- Goethe's colored shadows -- Filtows -- Holes in the light -- Black and blue -- Seeing in black and white -- We see in the dark -- Hearing silence.
Strang, C. (1961). The perception of heat. Proceedings of the Aristotelian Society 61:239-252.   (Cited by 2 | Google)
Vesey, Godfrey N. A. (1963). Armstrong on sensations of heat. Australasian Journal of Philosophy 41 (August):250-254.   (Google | More links)
Zamir, Tzachi (2004). The sense of smell: Morality and rhetoric in the bramhall-Hobbes controversy. Sophia 43 (2):49-61.   (Google)
Abstract: Olfactoric imagery is abundantly employed in the Bramhall-Hobbes controversy. I survey some examples and then turn to the possible significance of this. I argue that by forcing Hobbes into the figurative exchange Bramhall scores points in terms of moving the controversy into ground that is not covered by the limited view of rationality that Hobbes is committed to according to his rhetoric (at least as Bramhall perceives it). Bramhall clearly wants to move from cool argument to a more affluent rhetorical appeal. I argue that choosing such a richer epistemology coheres with Bramhall