The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing, touching, tasting and smelling. But how many senses are there? How many could there be? What makes the senses different? What interaction takes place between the senses? This book is a guide to thinking about these questions. Together with an extensive introduction to the topic, the book contains the key classic papers on this subject together with nine newly commissioned essays.
One reason that these questions are important is that we are receiving a huge influx of new information from the sciences that challenges some traditional philosophical views about the senses. This information needs to be incorporated into our view of the senses and perception. Can we do this whilst retaining our pre-existing concepts of the senses and of perception or do we need to revise our concepts? If they need to be revised, then in what way should that be done? Research in diverse areas, such as the nature of human perception, varieties of non-human animal perception, the interaction between different sensory modalities, perceptual disorders, and possible treatments for them, calls into question the platitude that there are five senses, as well as the pre-supposition that we know what we are counting when we count them as five (or more).
This book will serve as an inspiring introduction to the topic and as a basis from which further new research will grow.

The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing, touching, tasting and smelling. But how many senses are there? How many could there be? What makes the senses different? What interaction takes place between the senses? This book is a guide to thinking about these questions. Together with an extensive introduction to the topic, the book contains the key classic papers on this subject together with nine newly commissioned essays.
One reason that these questions are important is that we are receiving a huge influx of new information from the sciences that challenges some traditional philosophical views about the senses. This information needs to be incorporated into our view of the senses and perception. Can we do this whilst retaining our pre-existing concepts of the senses and of perception or do we need to revise our concepts? If they need to be revised, then in what way should that be done? Research in diverse areas, such as the nature of human perception, varieties of non-human animal perception, the interaction between different sensory modalities, perceptual disorders, and possible treatments for them, calls into question the platitude that there are five senses, as well as the pre-supposition that we know what we are counting when we count them as five (or more).
This book will serve as an inspiring introduction to the topic and as a basis from which further new research will grow.

From David Hume's famous puzzle about "the missing shade of blue," to current research into the science of colour, the topic of colour is an incredibly fertile region of study and debate, cutting across philosophy of mind, epistemology, metaphysics, and aesthetics, as well as psychology. Debates about the nature of our experience of colour and the nature of colour itself are central to contemporary discussion and argument in philosophy of mind and psychology, and philosophy of perception. This outstanding Handbook contains 29 specially commissioned contributions by leading philosophers and examines the most important aspects of philosophy of colour. It is organized into six parts: The Importance of Colour to Philosophy The Science and Spaces of Colour Colour Phenomena Colour Ontology Colour Experience and Epistemology Language, Categories, and Thought. The Routledge Handbook of Philosophy of Colour is essential reading for students and researchers in philosophy of mind and psychology, epistemology, metaphysics, and aesthetics, as well as for those interested in conceptual issues in the psychology of colour.

Sensory substitution and augmentation devices are built to try to replace or enhance one sense by using another sense. For example, in tactile-vision, stimulation of the skin driven by input to a camera is used to replace the ordinary sense of vision that uses our eyes. The feelSpace belt aims to give people a magnetic sense of direction using vibrotactile stimulation driven by a digital compass. Fiona Macpherson brings together researchers -neuroscientists, psychologists and philosophers -who are developing these technologies, studying the minds and behaviour of subjects who use them. Sensory Substitution and Augmentation has three specific aims. The first is to present the latest empirical research on sensory substitution and augmentation. Second, philosophers and scientists who adopt a very different approach comment on the empirical work. Their commentaries are often critical of the assumptions of the work, but often they make and call for clarifications, suggest extensions to the work, or comment on features of the application of the work that the original authors do not. This is one reason why Sensory Substitution and Augmentation is more than simply a collection of papers on the same topic. Finally, philosophers look at the nature of sensory substitution and augmentation, tackling issues such as the nature and limitations of sensory substitution, the nature of the sensory experiences, theories of perception, and the potential for these devices to help those people with disabilities, in part due to future amendments of the devices that are suggested. Throughout, there is a particular focus on the nature of the perceptual experiences, the sensory interactions, and the changes that take place in the mind and brain over time that occur while using and training to use these technologies.

Disjunctivism has attracted considerable philosophical attention in recent years: it has been the source of a lively and extended debate spanning the philosophy of perception, epistemology, and the philosophy of action. Adrian Haddock and Fiona Macpherson present seventeen specially written essays, which examine the different forms of disjunctivism and explore the connections between them. This volume will be an essential resource for anyone working in the central areas of philosophy, and the starting point for future research in this fascinating field.

Disjunctivism has attracted considerable philosophical attention in recent years: it has been the source of a lively and extended debate spanning the philosophy of perception, epistemology, and the philosophy of action. Adrian Haddock and Fiona Macpherson present seventeen specially written essays, which examine the different forms of disjunctivism and explore the connections between them. This volume will be an essential resource for anyone working in the central areas of philosophy, and the starting point for future research in this fascinating field.

The 'black 1880s' were a hard time for many in New Zealand, and this was felt across the board - for young men struggling to establish themselves and established 'patriarchs' alike. Such a patriarch was George Sumpter, prominent citizen of Oamaru, sometime-Mayor, Provincial Representative, father of ten, and general wheeler-dealer. And such a young man was Richard Davies, a Welsh immigrant who came to work for George and fell in love with George's first-born child. Richard had to prove his ability to support George's much-beloved daughter, and so he was sent to ply his trade (auctioneer) in Rakaia. From this separation, and later, the separation of Emma from her parents and many siblings, we are fortunate to have a great deal of correspondence that has been kept in the family. These letters paint a picture of business and life in New Zealand in these difficult times.

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 perceptual 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.

In Perceptual Imagination and Perceptual Memory a group of distinguished contributors examine how perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience.They question the role each plays in perception and in the acquisition of knowledge. The collection discusses the epistemic roles that the imagination and memory play in our mental lives. It pushes forward the debates about the nature of perceptual imagination and perceptual memory. This innovative study will encourage future discussions on these interesting topics by students and scholars in the field. This volume presents ten new essays on the nature of perceptual imagination and perceptual memory, framed by an introductory overview of these topics. How do perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience? And what role does each play in perception and in the acquisition of knowledge? These are the two central questions that the contributors seek to address.