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Seeing, Doing, and Knowing - A Philosophical Theory of Sense Perception (Paperback, New edition)
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Seeing, Doing, and Knowing - A Philosophical Theory of Sense Perception (Paperback, New edition)
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Seeing, Doing, and Knowing is an original and comprehensive
philosophical treatment of sense perception as it is currently
investigated by cognitive neuroscientists. Its central theme is the
task-oriented specialization of sensory systems across the
biological domain.
Sensory systems are automatic sorting machines; they engage in a
process of classification. Human vision sorts and orders external
objects in terms of a specialized, proprietary scheme of categories
-- colors, shapes, speeds and directions of movement, etc. This
"Sensory Classification Thesis" implies that sensation is not a
naturally caused image from which an organism must infer the state
of the world beyond; it is more like an internal communication, a
signal concerning the state of the world issued by a sensory
system, in accordance with internal conventions, for the use of an
organism's other systems. This is why sensory states are both
easily understood and persuasive.
Sensory classification schemes are purpose-built to serve the
knowledge-gathering and pragmatic needs of particular types of
organisms. They are specialized: a bee or a bird does not see
exactly what a human does. The Sensory Classification Thesis helps
clarify this specialization in perceptual content and supports a
new form of realism about the deliverances of sensation:
"Pluralistic Realism" is based on the idea that sensory systems
coevolve with an organism's other systems; they are not simply
molded to the external world.
The last part of the book deals with reference in vision.
Cognitive scientists now believe that vision guides the limbs by
means of a subsystem that links up with the objects of physical
manipulation in ways thatbypass sensory categories. In a novel
extension of this theory, Matthen argues that "motion-guiding
vision" is integrated with sensory classification in conscious
vision. This accounts for the quasi-demonstrative form of visual
states: "This particular object is red," and so on. He uses this
idea to cast new light on the nature of perceptual objects,
pictorial representation, and the visual representation of space.
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