Mary's Powers of Imagination

One common response to the knowledge argument is the ability hypothesis. Proponents of the ability hypothesis accept that Mary learns what seeing red is like when she exits her black-and-white room, but they deny that the kind of knowledge she gains is propositional in nature. Rather, she acquires a cluster of abilities that she previously lacked, in particular, the abilities to recognize, remember, and imagine the color red. For proponents of the ability hypothesis, knowing what an experience is like simply consists in the possession of these abilities. Criticisms of the ability hypothesis tend to focus on this last claim. Such critics tend to accept that Mary gains these abilities when she leaves the room, but they deny that such abilities constitute knowledge of what an experience is like. To my mind, however, this critical strategy grants too much. Focusing specifically on imaginative ability, I argue that Mary does not gain this ability when she leaves the room for she already had the ability to imagine red while she was inside it. Moreover, despite what some have thought, the ability hypothesis cannot be easily rescued by recasting it in terms of a more restrictive imaginative ability. My purpose here is not to take sides in the debate about physicalism, i.e., my criticism of the ability hypothesis is not offered in an attempt to defend the anti-physicalist conclusion of the knowledge argument. Rather, my purpose is to redeem the imagination from the misleading picture of it that discussion of the knowledge argument has fostered

Ambiguous figures and the content of experience

Representationalism is the position that the phenomenal character of an experience is either identical with, or supervenes on, the content of that experience. Many representationalists hold that the relevant content of experience is nonconceptual. I propose a counterexample to this form of representationalism that arises from the phenomenon of Gestalt switching, which occurs when viewing ambiguous figures. First, I argue that one does not need to appeal to the conceptual content of experience or to judgements to account for Gestalt switching. I then argue that experiences of certain ambiguous figures are problematic because they have different phenomenal characters but that no difference in the nonconceptual content of these experiences can be identified. I consider three solutions to this problem that have been proposed by both philosophers and psychologists and conclude that none can account for all the ambiguous figures that pose the problem. I conclude that the onus is on representationalists to specify the relevant difference in content or to abandon their position

Grounding, Analysis, and Russellian Monism

Few these days dispute that the knowledge argument demonstrates an epistemic gap between the physical facts and the facts about experience. It is much more contentious whether that epistemic gap can be used to demonstrate a metaphysical gap of a kind that is inconsistent with physicalism. In this paper I will explore two attempts to block the inference from an epistemic gap to a metaphysical gap – the first from the phenomenal concept strategy, the second from Russellian monism – and suggest how the proponent of the knowledge argument might respond to each of these challenges. In doing so, I will draw on recent discussions of grounding and essence in the metaphysics literature

Dialetheism in Action: A New Strategy for Solving the Equal Validity Paradox

This paper starts from the Equal Validity Paradox, a paradoxical argument connected to the so-called phenomenon of faultless disagreement. It is argued that there are at least six strategies for solving the paradox. After presenting the first five strategies and their main problems, the paper focuses on the sixth strategy which rejects the assumption that every proposition cannot be both true a false. Dialetheism is the natural candidate for developing strategy six. After presenting strategy six in detail, we formulate a normative problem for the dialetheist and offer a tentative solution to it. We then elaborate further considerations connecting strategy six to pluralism about truth and logic. Even if strategy six is a hard path to take, its scrutiny highlights some important points on truth, logic and the norms for acceptance and rejection

Against Nature? or, Confessions of a Darwinian Modernist

A few years ago I gave a paper on the aesthetics of ‘noise,’ that is, on the ways in which non-musical sounds can be given aesthetic shape and structure, and thereby form the basis of significant aesthetic experience. Along the way I made reference to Arnold Schoenberg's musical theory, in particular his notion of Klangfarbenmelodie, literally ‘sound colour melody,’ or musical form based on timbre or tonal colour rather than on melody, harmony or rhythm. Schoenberg articulated his ideas about Klangfarbenmelodie in the final section of his Harmonielehre (1911). ‘Pitch is nothing else but tone colour measured in one direction,’ wrote Schoenberg. ‘Now, if it is possible to create patterns out of tone colours that are differentiated according to pitch, patterns we call ‘melodies’…then it must also be possible to make such progressions out of the tone colours of the other dimension, out of that which we simply call “tone colour.”’ In other words, traditional melodies work by abstracting and structuring the dominant pitch characterizing a musical sound, while ‘sound colour melodies’ work, Schoenberg argues, by structuring the combined set of pitches contained in a given musical sound (the overtones as well as the dominant pitch). Schoenberg is emphatic that, although a neglected and underdeveloped possibility within Western classical music, ‘sound colour melody’ is a perfectly legitimate and viable form of musical expression; indeed for Schoenberg it is a musical form with enormous potential