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Although philosophical discussions concerning perceptual experiences are currently in good shape, it is still unclear what we talk about when we talk about perceptual experiences – that is, what kind of entities they are. Philosophers of perception are traditionally inclined to conceive them as

In: Grazer Philosophische Studien
an international journal of art and perception science
The main objective of Art & Perception is to provide a high-quality platform to publish new artwork and research in the multi-disciplinary emerging bridge between art and perception. As such it aims to become the top venue to explore the links between the science of perception and the arts, and to bring together artists, researchers, scholars and students in a unified community that can cooperate, discuss and develop new scientific perspectives in this complex and intriguing new field.

The purpose is not to minimize or erase the differences between the arts and sciences, which are grounded in venerable histories that are in many ways necessarily distinct. Rather, the ambition of the journal is to combine the differing methods and insights of artists and scientists in order to expand our knowledge of art and perceptual experience in a way that neither could do alone.

Art & Perception will serve those across several areas of science studying the way works of art and design affect us perceptually, cognitively, or physiologically. The editors are also keen to receive submissions from practicing artists, and those in related fields of history and theory, which offer an artistic perspective on perception.

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Edmund Husserl’s account of the horizonal character of simple, sensuous perception provides a sophisticated account of perceptual intentional content which enables plausible responses to key issues in the philosophy of perception and in Heidegger interpretation. Section 2 outlines Husserl’s account of intentionality in its application to such perceptual experience. Section 3 then elaborates the notion of perceptual horizon in order to draw out, in Section 4, its implications for four issues: firstly, the relation between the object perceived and perceptual appearance (qua item “in consciousness”); secondly, the relation between the subject perceiving and perceptual appearance; thirdly, what sense of the body is inherent to perceptual experience of the horizonal kind; and fourthly, what John McDowell is getting at when he claims that traditional conceptions fail to capture how perception puts us in cognitive contact with the world. The paper concludes by using the interpretation developed to show how Husserl’s account of perceptual experience as horizonal enables one to draw out the sense and worth of what Heidegger means by worldliness and the “Da” of Dasein.

In: History of Philosophy & Logical Analysis
Author: Amedeo Giorgi

Consciousness and Perceptual Experience: An Ecological and Phenomenological Approach. Cambridge, uk : Cambridge University Press, 2013. vii + 463 pp. isbn 978-1-107-00451-1 (hardback). $110.00. Thomas Natsoulas has spent his career as a psychologist studying consciousness and perception

In: Journal of Phenomenological Psychology
In: Contemporary Pragmatism
In: The Philosophy of Edmund Husserl
In: Experiencing the Outdoors
Analyzing Object Recognition
Author: Ulrike Pompe
The intrinsic relation between rationality or thought on the one hand and sensory information processing or perception on the other hand is a classical topic in the philosophy of mind. This work contributes to this traditional debate by introducing an interdisciplinary framework, in which the relation between perception and cognition can be explored from a philosophical point of view and, at the same time, on the basis of the latest findings from empirical perception research. Discussing the case of visual object recognition, the proposed model allows us to differentiate between a variety of perceptual phenomena and to clarify our understanding of the role of concepts within perception. As such, it takes a stand in the debate about the conceptuality of perceptual content, exemplifying at which stage of perception and by virtue of which mechanisms perceptual experience becomes enriched or even influenced by prior knowledge or cognition in general. The final chapter is dedicated to the discussion of face perception, its disorders and underlying mechanisms.