In recent literature, several authors attempt to naturalize epistemic normativity by employing an etiological account of functions. The thought is that epistemic entitlement consists in the normal functioning of our belief-acquisition systems, where the latter acquire the function to reliably deliver true beliefs through a history of biological benefit.

In 1984, John W. Yolton published Perceptual Acquaintance from Descartes to Reid. His most recent book builds on that seminal work and greatly extends its relevance to issues in current philosophical debate. Perception and Reality examines the theories of perception implicit in the work of seventeenth- and eighteenth-century philosophers which centered on the question: How is knowledge of the body possible? That question raises issues of mind-body relation, the way that mentality links with physicality, and the nature of (...) the known world. In contrast to commonsense realism, which suggests that the world is as it appears to be, a more complex theory developed throughout this period. Yolton traces its evolution from Descartes to Kant, via Arnauld, Malebranche, Locke, Berkeley, and Hume. Yolton explains that the new theory postulated two interactive relations between perceivers and the physical world, one physical and causal, the other cognitive. An understanding of this double relation is important for an accurate construction of the history of philosophy. It is also important for contemporary thought because it suggests a way to account for representation (cognitivity) and realism at the same time. (shrink)

"Perceptions of Jewish History scintillates with original ideas and insights. It will appeal to a broad audience." --Michael A. Signer, University of Notre Dame "Students of the Jewish past will welcome this volume; it will also attract readers with the widest possible range of interests." --Robert Chazan, New York University.

In physics, the temporal dimension has units of infinitesimally brief duration. Given this, how is it possible to perceive things, such as motion, music, and vibrotactile stimulation, that involve extension across many units of time? To address this problem, it is proposed that there is what is termed an “information construct of happening” (ICOH), a simultaneous representation of recent, temporally differentiated perceptual information on the millisecond time scale. The main features of the ICOH are (i) time marking, semantic labeling of (...) all information in the ICOH with ordinal temporal information and distance from what is informationally identified as the present moment, (ii) vector informational features that specify kind, direction, and rate of change for every feature in a percept, and (iii) connectives, information relating vector informational features at adjacent temporal locations in the ICOH. The ICOH integrates products of perceptual processing with recent historical information in sensory memory on the subsecond time scale. Perceptual information about happening in informational sensory memory is encoded in semantic form that preserves connected semantic trails of vector and timing information. The basic properties of the ICOH must be supported by a general and widespread timing mechanism that generates ordinal and interval timing information and it is suggested that state‐dependent networks may suffice for that purpose. Happening, therefore, is perceived at a moment and is constituted by an information structure of connected recent historical information. (shrink)

The aim of the present work is to show the roots of the conception of perception as an active process, tracing the history of its development from Plato to modern philosophy. The contributors inquire into what activity is taken to mean in different theories, challenging traditional historical accounts of perception that stress the passivity of percipients in coming to know the external world. Special attention is paid to the psychological and physiological mechanisms of perception, rational and (...) non-rational perception and the role of awareness in the perceptual process. Perception has often been conceived as a process in which the passive aspects - such as the reception of sensory stimuli - were stressed and the active ones overlooked. However, during recent decades research in cognitive science and philosophy of mind has emphasized the activity of the subject in the process of sense perception, often associating this activity to the notions of attention and intentionality. Although it is recognized that there are ancient roots to the view that perception is fundamentally active, the history remains largely unexplored. The book is directed to all those interested in contemporary debates in the fields of philosophy of mind and cognitive psychology who would like to become acquainted with the historical background of active perception, but for historical reliability the aim is to make no compromises. (shrink)

The way human history has been perceived through the ages - by historians, theologians, philosophers, and ordinary mortals - is itself a topic for a historical study. Our attempt will be more modest, as we shall try to analyse some prominent examples of such perception. Our approach will be illuminated by the notions of the transient and the absolute, as they are attributed, in various ways, to the historical manifestations by historiographers and historiosophers.

In this commentary, John O'Neill concentrates upon three themes in the goal Merleau-Ponty set for himself, namely "to restore to things their concrete physiognomy, to organisms their individual ways of dealing with the world, and to subjectivity its inherence in history." O'Neill considers the three objectives in their original order: first, the study of animal and human psychology; then, the phenomenology of perception; and finally, certain extensions of these perspectives in the historical and social sciences.

Theoretical framework -- Studying the history curriculum -- Studying the history textbooks -- Investigating history teachers' view -- Investigating pupils' perceptions -- Conclusions.

This book does several things, and it does them all well. Yolton firmly contextualizes the debates about perception within the seventeenth and eighteenth centuries, while showing how these debates are often repeated in contemporary philosophy of mind. Along the way, he provides novel interpretations of Descartes, Locke, Berkeley, Hume, and Kant that are clearly and convincingly presented. Perhaps the most important feature of his treatment is that it so vividly shows the Moderns grappling with issues about perception that (...) continue to plague us. The uniting theme of the work is Yolton’s insistence that direct realism and representationalism are compatible. Yolton’s defense of direct realism is largely motivated by the thesis that many philosophers incorrectly take a representational theory of mind to necessitate indirect realism. This mistake arises, according to Yolton, because they suppose that the representations themselves become the objects of perception and therefore stand between the perceiver and the world of objects. Yolton’s argument that the philosophers of the seventeenth and eighteenth centuries were struggling to establish two interactive relations between perceivers and the physical world underlies his compatibility thesis: There is a physical and causal relationship and, more importantly, there is what Yolton calls a “cognitive” or “semantic” relationship. The latter relationship holds the key to the compatibility of representationalism with direct realism. (shrink)

本論は、メルロ=ポンティによる曖昧で未完成な歴史哲学へのプロジェクトを吟味し、それをレヴィナスの『全体性と無限』における歴史主義への批判と比較している。メルロ=ポンティに従えば、人間の歴史的行動には、 特別な「取り返し（reprise）」という現象が見られる。それは、広義の世界、つまり自然と人間世界に由来する提供物、つまり世界の肉や「逆境（adversité）」を通じて、不明瞭な「提案（propos ition）」の内容を存在させる（faire être）働きである。提案されたことを取り返す運動は、ある種の「襞（pli）」の形を取る。このような分節は、ヘーゲルとは異なる斬新な弁証法の可能性を含んでいる。メルロ=ポンティのアプローチは、マルクス 主義や実存主義における歴史論とは異なり、美術作品における歴史性への解釈学に基づく存在論として理解できる。さらには、彼の諸見解は哲学史に注意を払うことで、哲学自体による哲学自身についての歴史的知覚までに 広がる。その独自的な観点からすると、メルロ=ポンティは、ヤスパースやパトチカ、またリクールやデリダなどの傍に、歴史の現象学に関する代表者の一人であることが明らかになる。.

I / The Structures of Behavior MERLEAU-PONTY'S ANALYSIS of the structures of behavior proceeds by means of a critical confrontation of the realism of ...

This essay aims to sharpen debates on the pros and cons of historical epistemology, which is now understood as a novel approach to the study of knowledge, by comparing it with the history of epistemology as traditionally pursued by philosophers. The many versions of both approaches are not always easily discernable. Yet, a reasoned comparison of certain versions can and should be made. In the first section of this article, I argue that the most interesting difference involves neither the (...) subject matter nor goal, but the methods used by the two approaches. In the second section, I ask which of the two approaches or methods is more promising given that both historical epistemologists and historians of epistemology claim to contribute to epistemology simpliciter . Using traditional problems concerning the epistemic role of perception, I argue that the historical epistemologies of Wartofsky and Daston and Galison fail to show that studying practices of perception is philosophically significant. Standard methods from the history of epistemology are more promising, as I show by means of reconstructing arguments in a debate about the relation between perception and judgment in psychological research on the famous moon illusion. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception (...) into account. The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

Every generation re-writes history in its own way'. Re-writing History applies Collingwood's dictum to a series of topics and themes, some of which have been central to prehistoric and protohistoric archaeology for the past century or more, while some have been triggered by more recent changes in technology or social attitudes. Some issues are highly controversial, like the proposals for the Stonehenge World Heritage sites. Others challenge long-held popular myths, like the deconstruction of the Celts and by extension (...) the Picts. Yet some traditional tenets of scholarship have gone unchallenged for too long, like the classical definition of civilization itself. But why should it matter? Surely it is in the order of things that each generation rejects received wisdom and adopts ideas that are radical or might offend previous generations? Is this not simply symptomatic of healthy and vibrant debate? Or are there grounds for believing that current changes are of a more disquieting character, denying the basic assumptions of rational argument and freedom of enquiry and expression that have been the foundation of western scholarship since the eighteenth century Enlightenment? Re-writing History addresses contemporary concerns about information and its interpretation, including issues of misinformation and airbrushing of politically-incorrect history. Its subject matter is the archaeology of prehistoric and early historic Britain, and the changes witnessed over two centuries and more in the interpretation of the archaeological heritage by changes in the prevailing political and social as well as intellectual climate. Far from being topics of concern only to academics in ivory towers, the way in which seemingly innocuous issues such as cultural diffusion or social reconstruction in the remote past are studied and presented reflects important shifts in contemporary thinking that challenge long-accepted conventions of free speech and debate. (shrink)

This chapter evaluates the use of rabbinic literature in the study of the history of Christianity in Roman Palestine. It explains that this issue goes back to medieval Jewish-Christian controversy and intertwines with the whole history of the reception of the Talmud in Europe and the western world. It suggests that the view that Christians are most often envisaged in the rabbinic references to minim is consistent with the likelihood that Christianity is envisaged in a number of rabbinic (...) and targumic passages which do not mention minim. (shrink)

The concept of brain death as equivalent to cardiopulmonary death was initially conceived following developments in neuroscience, critical care, and transplant technology. It is now a routine part of medicine in Western countries, including the United States. In contrast, Eastern countries have been reluctant to incorporate brain death into legislation and medical practice. Several countries, most notably China, still lack laws recognizing brain death and national medical standards for making the diagnosis. The perception is that Asians are less likely (...) to approve of brain death or organ transplant from brain dead donors. Cultural and religious traditions have been referenced to explain this apparent difference. In the West, the status of the brain as home to the soul in Enlightenment philosophy, combined with pragmatism and utilitarianism, supports the concept of brain death. In the East, the integration of body with spirit and nature in Buddhist and folk beliefs, along with the Confucian social structure that builds upon interpersonal relationships, argues against brain death. However, it is unclear whether these reasoning strategies are explicitly used when families and medical providers are faced with acknowledging brain death. Their decisions are more likely to involve a prioritization of values and a rationalization of intuitive responses. Why and whether there might be differences between East and West in the acceptance of the brain death concept requires further empirical testing, which would help inform policy-making and facilitate communication between providers and patients from different cultural and ethnic backgrounds. (shrink)

John Yolton describes this collection of nine essays as "a kind of a sequel" to his 1984 book Perceptual Acquaintance from Descartes to Reid. Four of the chapters have previously appeared in print, and most can stand on their own, presuming little or no familiarity with previous chapters. Indeed, the title is somewhat misleading, for the material is not presented in chronological fashion, and there is little attention given to Leibniz and none to Spinoza--not what one would expect to find (...) in a history from Descartes to Kant. (shrink)

This book consists of Northwestern University Studies in Phenomenology and Existential Philosophy.

Afterthoughts on biases in history perception Contemporary social psychology describes various deformations of processing social information leading to distortions of knowledge about other people. What is more, a person in everyday life refers to lay convictions and ideas common in his/her cultural environment that distort his/her perceptions. Therefore it is difficult to be surprised that authors of narrations in which participants of history are presented use easily available common-sense psychology, deforming images of both the participants of (...) class='Hi'>history and their activities, as well as the sequence of events determined by these activities. Which cognitive biases, how often, and in what intensity they will be presented in historical narrations depend on statements of dominating common-sense psychology. The article outlines some biases made by historian-lay psychologists, such as attributional asymmetry or hindsight effects, whose occurrence in their thinking, as formed in the cultural sphere of the West, influences history perception and conducted historical interpretations. (shrink)

This essay aims to sharpen debates on the pros and cons of historical epistemology, which is now understood as a novel approach to the study of knowledge, by comparing it with the history of epistemology as traditionally pursued by philosophers. The many versions of both approaches are not always easily discernable. Yet, a reasoned comparison of certain versions can and should be made. In the first section of this article, I argue that the most interesting difference involves neither the (...) subject matter nor goal, but the methods used by the two approaches. In the second section, I ask which of the two approaches or methods is more promising given that both historical epistemologists and historians of epistemology claim to contribute to epistemology simpliciter. Using traditional problems concerning the epistemic role of perception, I argue that the historical epistemologies of Wartofsky and Daston and Galison fail to show that studying practices of perception is philosophically significant. Standard methods from the history of epistemology are more promising, as I show by means of reconstructing arguments in a debate about the relation between perception and judgment in psychological research on the famous moon illusion. (shrink)

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition (...) of Husserl, Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

_The Primacy of Perception_ brings together a number of important studies by Maurice Merleau-Ponty that appeared in various publications from 1947 to 1961. The title essay, which is in essence a presentation of the underlying thesis of his _Phenomenology of Perception,_ is followed by two courses given by Merleau-Ponty at the Sorbonne on phenomenological psychology. "Eye and Mind" and the concluding chapters present applications of Merleau-Ponty's ideas to the realms of art, philosophy of history, and politics. Taken together, (...) the studies in this volume provide a systematic introduction to the major themes of Merleau-Ponty's philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns (...) representing specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

This collection represents the first historical survey focusing on the notion of consciousness. It approaches consciousness through its constitutive aspects, such as subjectivity, reflexivity, intentionality and selfhood. Covering discussions from ancient philosophy all the way to contemporary debates, the book enriches current systematic debates by uncovering historical roots of the notion of consciousness.

Wahrnehmung / Philosophie / Wissenschaft / Geschichte.