Senses and Sensation: Critical and Primary Sources offers a comprehensive collection of key writings essential to anyone wishing to gain a critical understanding of sensory studies. Drawing upon historical and contemporary texts from a wide range of sources, this set is inspired by the sensory turn in the humanities, social sciences and fine arts which has challenged the monopoly that psychology formerly held over the study of senses and sensation. It also builds upon the revolution in (...) psychology and the neurosciences which has led to an increased emphasis on the interaction and integration of the senses, in place of the one-sense-at-a-time approach. The four volumes include 99 essays from the humanities, social sciences, fine arts, biology, psychology and the neurosciences. Ordered by discipline, the volumes cover geography and anthropology, history and sociology, biology, psychology and neuroscience, and art and design. Each volume is separately introduced and the essays structured into coherent sections on specific themes. This work is a major scholarly resource for those working and studying in the multidisciplinary field of sensory studies. (shrink)

William Hunter's anatomical inquiry employed all of his senses, but how did his personal experiences with the cadaver become generalized scientific knowledge teachable to students and understandable by fellow practitioners? Moving beyond a historiographical focus on Hunter's images and extending Lorraine Daston's (2008) concept of an ‘ontology of scientific observation’ to include non-visual senses, I argue that Hunter's work aimed to create a stabilized object of the cadaver that he and his students could perceive in common. Crucial to (...) this stabilization was the sense of touch and its interaction with other senses, creating intersensory knowledge of the cadaver. Through a close reading of his neglected posthumous publication An Anatomical Description of the Human Gravid Uterus (1794), I demonstrate that Hunter wrote extensively about touch and other sensory experiences, using comparative metaphors and other linguistic strategies to engender clear ideas of the cadaver in the mind of the reader. That these ideas could be consistent between practitioners was guaranteed by God, but required practitioners to appropriately reflect on their sensory experiences with cadavers. Hunter's experimental practice encompassed both simple and complex methods, all aimed at increasing the range of sensorial experiences he had with the gravid uterus. His preservations of these experiences in text, image and preparation could then be used to support further anatomical investigations. (shrink)

The release of Emmanuel Levinas’s Prison Notebooks (Carnets de captivité) as a part of the first tome of his collected works has further illuminated the extent of the philosopher’s preoccupation with art, especially literature. Levinas’s own literary efforts have been well documented, but less attention has been paid to the relationship between the Prison Notebooks and Levinas’s early philosophy of art. In this article, I suggest that much of what Levinas has to say apropos art in his early philosophy can (...) be traced back to meditations undertaken in captivity. I will unearth the influence of the Prison Notebooks in three articles from the 1940ʹs “L’autre dans Proust,” “La réalité et son ombre,” and “La transcendance des mots.” I argue that in Levinas’s early philosophy of art follows two distinct “paths”: the path of eros and the path of sensation. On one hand, Levinas questions how and if literature can do justice to the question of alterity, whereas on the other he seeks to make sense of the relationship between art and sensibility. I argue that in his notebooks Levinas offers an account of the meaning of sensations that forms the basis of his early aesthetics. Thus, the study of the Prison Notebooks is important as it allows us to see how Levinas’s early philosophy of art, including his seminal “La réalité et son ombre,” functions as a continuation of a philosophical project already begun during his time in captivity. (shrink)

Sensation is recognized by epistemology as one of the sources of knowledge, alongside memory, testimony, reason, induction and introspection, but this has not always been the case. It is a defining feature of modern epistemology that the senses provide valuable information about the world that cannot be reached through reason alone. However, because the senses can have an intensity and uniqueness that is difficult to describe, it is sometimes not entirely clear what they offer as knowledge, or (...) even whether epistemology has a secure and adequate grasp of them. This chapter explains some of the key theories of sensation in the history of epistemology, from ancient Greece to the present day, and shows how competing views of the relation between philosophy and science inform contemporary ideas about the senses. (shrink)

Introduction This book is about the nature of the content of psychological states. Examples of psychological states with content are: believing today is a ...

Husserl's idea of a self-enclosed region of pure consciousness, a transcendental subjectivity that is at once absolute being and a sense-giving synthesis of experience, has enjoyed few, if any, enthusiastic defenders. In a recent book on Husserl, David Bell struggles in vain to find anything of worth in Husserl's "transcendental ontology. ''1 To be sure, Bell is reading Husserl with Fregean eyes; yet much dissatisfaction can be found among continental thinkers as well. Jacques Derrida, for example, argues that the self-presence (...) requisite for conceiving of transcendental subjectivity as both origin and absolute being is in the end undermined by the results of phenomenological analysis itself, especially the reflections on the nature of time. Jan Pato~ka, the Czech philosopher, railed against what he saw to be Husserl's "prejudice" of subjectivism in the demand for a world-constituting activity on the part of subjectivity. One can find similar objections in the work of Roman Ingarden and Jean-Paul Sartre - that is, in the work of those who, one could say, benefited the most from Husserl's phenomenology. 2 So many have said so much, and in a multitude of convincing ways, that perhaps someone interested in Husserl can finally be content to focus on those aspects and achievements that are more or less independent of the claim that phenomenology is a "transcendental idealism," a rigorous science the region of investigation of which is an "absolutely functioning transcendental subjectivity.". (shrink)

My dissertation presents a comprehensive rethinking of the Kantian imperative, articulating it on the basis of what I call originary sense. Calling primarily upon the works of Maurice Merleau-Ponty, Gilles Deleuze, and Jean-François Lyotard, I show (1) that sense constitutes the ontologically most basic dimension of our worldly being and (2) that the way in which this sense happens is determinative for our experience of the ethical imperative. By originary sense I mean to name something that is neither sensible sense (...) (sensation) nor intelligible sense (meaning), but rather a kind of unity of these two that is ontologically anterior to their separation. In the first chapter I follow Merleau-Ponty’s argument in Phenomenology of Perception that sensible sense and intelligible sense belong originarily together at the level of the lived body. We are able to intend the meaning of worldly situations (Husserl’s Sinngebung) only insofar as we are responsive in an embodied way to the imperatives that are given in the sensible itself. The intelligible lawfulness so characteristic of the Kantian imperative is thus shown to be grounded in a more fundamental unity of intelligible and sensible sense. The second chapter follows Merleau-Ponty’s later works, especially The Prose of the World and The Visible and the Invisible, showing how the sensibility that is inseparable from the imperative introduces important limitations to the universalizing tendencies of Kant’s moral philosophy, drawing us back to the irreducible situatedness of ethical situations. In the third chapter I turn to the very different articulation of sense given by Gilles Deleuze, primarily in his Logic of Sense. I show there that Merleau-Ponty’s phenomenological conception of sense does not allow us to think the singularity of the imperative, the fact that the ethical command weighs on a me that cannot be grasped in terms of the generalities of my public identity. This singularity corresponds broadly to the idea of dignity in Kant’s moral philosophy. I argue that Deleuze, who conceptualizes sense as an event, gives us the resources to think singularity and to understand what it entails for our ethical practice. Finally, I attempt in the fourth chapter to think these two sides of the imperative—its demand for universality and its emphasis on singularity and dignity— together in the idea of libidinal sense. Calling on Jean-François Lyotard’s Libidinal Economy and, to a lesser extent, on Deleuze and Guattari’s Anti-Oedipus, I show that these two apparently incompatible requirements of the imperative have a common source in the event of libidinal investment (cathexis). In thus locating the source of the imperative in originary, libidinal sense, I hope both to shed some light on the irreducible complexity of our ethical being and to present a more humane, less moralizing version of the imperative than is typically articulated in moral philosophy. (shrink)

Nevertheless, despite whatever optimism about the future unification of sciences is justified, there are now, as there have been for centuries, difficult problems confronting the materialist. Perhaps the crucial problem concerns the status of sensations, a problem clearly evident as far back as Hobbes who said that sense is "some internal motion in the sentient, generated by some internal motion, of the parts of the object, and propagated through all the media to the innermost part of the organ." Here Hobbes (...) reduces sense to physical motion. But he is also found to say that sense is not motion, but "in all cases, is nothing else but original fancy," or, he says elsewhere, "phantasms" caused by internal motions. He is then directly faced with the problem of reconciling appearances and sensations with his avowed materialism. Neither Hobbes nor any one else has solved this problem, although there have recently been some novel and instructive attempts to do so. (shrink)

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema (...) offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. (shrink)

Does inner sense, like outer sense, provide inner sensations or, in other words, a sensory manifold of its own? Advocates of the disparity thesis on inner and outer sense claim that it does not. This interpretation, which is dominant in the preexisting literature, leads to several inconsistencies when applied to Kant’s doctrine of inner experience. Yet, while so, the parity thesis, which is the contrasting view, is also unable to provide a convincing interpretation of inner sensations. In this paper, I (...) argue that this deadlock can be traced back to an inadequate understanding of inner sense shared by both sides. Drawing upon an analysis of the notion of obscure representations, I offer an alternative interpretation of inner sense with a special regard to self-affection, apprehension, and attention. From this basis, I will infer that outer sense delivers sensory content that is initially and intrinsically unaccompanied by phenomenal consciousness; inner sense contributes by endowing such content with phenomenal consciousness. Therefore, phenomenal qualities can be regarded as the sensory manifold of inner sense. This alternative interpretation solves the long-standing dispute concerning inner sensations and would further illuminate Kant’s notion of inner experience. (shrink)

RésuméLe but de cet article est de mettre en évidence les différences entre Descartes et Reid au sujet du rôle que chacun assigne aux sensations dans le processus perceptuel. Dans Perceptual Acquaintance, John Yolton ne trouve quepeu de choses dans les conceptions de Reid qui ne soient pas déjà de quelque façon présentes chez Descartes. Je soutiens au contraire que la théorie des sensations-comme-signes de Reid constitue un développement considérable par rapport à celle de Descartes ou à quoi que ce (...) soit que l'on trouve chez lui, non seulement parce qu'elle est évidemment plus claire et plus cohérente, mais aussi parce qu'elle introduit l'idée d'un élément a priori dans notre expérience perceptuelle et lui attribue un rôle indispensable. Cet élément crucial est tout à fait absent de la conception cartésienne. (shrink)

Amid the ongoing debate over the proper interpretation of Aristotle's theory of sense perception in the "De Anima," Steven Everson has recently presented a well-documented and ambitious treatment of the issue, arguing in favor of Richard Sorabji's controversial position that sense organs literally take on the qualities of their proper objects. Against the interpretation of M. F. Burnyeat, Everson and others make a compelling case the Aristotelian account of sensation requires some physical process to occur in sense organs. A (...) detailed examination of the interpretation by Everson and Sorabji of Aristotle's theory, however, shows that their reading cannot be the correct one, since it involves many textual and philosophical difficulties. Their interpretation, for instance, would require abandoning Aristotle's requirement that only a transparent substance is suitable matter for an eye. Likewise, their understanding of the Aristotle's doctrine of sensation as the reception of form without matter in "DA 2.12" cannot be reconciled with other texts of his from "On Generation and Corruption." An analysis of these texts, as well as "DA 2.7" and "De Sensu 6" on the roles of light and the transparent medium in vision, show that, for Aristotle, the physical processes which sense organs undergo are not standard qualitative changes (i.e. alterations), but activities or the actualizations of potencies in the material constituents of living animal bodies. (shrink)

This book is an in-depth exploration of the nature of sensations and how they are affected by different types of stimuli. The author, Harold Griffing, presents a detailed analysis of the ways in which pressure and impact can influence sensations, and offers insights into how these findings can be applied in a variety of contexts. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work (...) is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Surely one of the most interesting problems in the study of mind concerns the nature of sentience. How is it that there are sensations, rather than merely sensings? What is it like to be a bat -- or why is it like anything at all? Why aren't we automata or responding but unfeeling Zombies? How does neural activity give rise to subjective experience? As Leibniz put the problem : _It must be confessed, however, that Perception_ [consciousness?]_, and that which depends (...) upon it, are_ _inexplicable by mechanical means, that is to say, by figures and motions. Supposing that there were a_ _machine whose structure produced thought, sensation, and perceptions, we could conceive of it as increased_ _in its interior size with the same proportions until one was able to enter into its interior, as he would into a_ _mill. Now, on going into it he would find only pieces working upon one another, but never would he find_ _anything to explain Perception._ [Montgomery trans.]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the (...) condition for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only (...) the ground of judgements of beauty and the basis of pleasure in the beautiful, but is also essential, I argue, for the reflecting judgements through which we acquire empirical concepts. (shrink)

John Keats remains one of the most familiar and beloved of English poets, but has received surprisingly little critical attention in recent years. This study is a fresh contribution to Keats criticism and Romantic scholarship, positioning Keats as a figure of philosophical interest who warrants renewed attention. Exploring Keats's own Romantic accounts of feeling and thinking, this study draws a connection between poetry and the phenomenological branches of modern philosophy. The study takes Keats's poetic evocation of touching hands, wandering feet, (...) beating hearts and breathing bodies as a descriptive elaboration of consciousness and a phenomenological account of experience. The philosophical terms of analysis adopted here challenge the orthodoxies of Keats scholarship, traditionally characterised by the careful historicisation of a limited canon. The philosophical framework of analysis enhances the readings put forward, while Keats's poems, in turn, serve to give fuller expression of those ideas themselves. Using Keats as a particular case, this book also demonstrates the ways in which theory and philosophy supplement literary scholarship. (shrink)

IT IS POSSIBLE to discern three main types of answers commonly given to the question about the nature of sensations. The first is the classical "private access" theory, according to which I can sense my own pain, while the pains of others can never be subject to direct inspection by me. The presence of overt pain behavior may inductively confirm the hypothesis that the body thus behaving is besouled [[sic]] and subject to a sensation of pain, but I can (...) never be sure that such pain really exists. I can feel only my own pain, and every pain I feel is necessarily my own. One token of this view is Cartesian dualism, but it is also adopted by most kinds of interactionism, epiphenomenalism, and their ilk. One of the notorious consequences of this theory is, that it makes the problem of Other Minds practically insoluble. Do the other humanoids have minds like my own, do they experience raw feelings similar to mine? The question remains logically unanswerable. The argument from analogy was often shown to be very tenuous, and one is therefore driven to accept the conclusion that sensation words must mean one thing in the context of egocentric sentences and quite another thing when the subject of the sentence is other than I. But if this is the case, mentalistic attributes proper are only I-ascriptive: that is, it would be a logical howler to apply them to anything other than myself; grammar thus forces me to adopt a position similar to that of the solipsist. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic (...) models. Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

A path-breaking collection launching a new series of books on the senses in antiquity. Synaesthesia and the Ancient Senses presents a radical reappraisal of antiquity's textures, flavours, and aromas, sounds and sights. It offers both a fresh look at society in the ancient world and an opportunity to deepen the reading of classical literature. The book will appeal to readers in classical society and literature, philosophy and cultural history. All Greek and Latin is translated and technical matters are (...) explained for the non-specialist. The introduction sets the ancient senses within the history of aesthetics and the subsequent essays explore the senses throughout the classical period and on to the modern reception of classical literature. (shrink)

Prologue : narratocracy and the contours of political life -- From nomos to nomad : Kant, Deleuze, and Rancière on sensation -- The piazza, the edicola, and the noise of the utterance -- Machiavelli's theory of sensation and Florence's vita festiva -- The viewing subject : Caravaggio, Bacon, and the ring -- "You're eating too fast!" slow food's ethos of convivium -- Epilogue : "the photographs tell it all" : on an ethics of appearance.

This dissertation attempts to expose the influence of Francis Bacon on the philosophy of Thomas Reid. Reid was a self-professed Baconian who viewed the human mind as a subject which was amenable to scientific investigation. Reid attempts to develop his own theory of mind according to the method of induction and experiment and general philosophy of science of Bacon. Further, Reid's use of the Baconian idols in his attack on the theory of ideas is explored. In addition, it is argued (...) that this Baconian approach helps to illuminate Reid's direct realism in perception as well as Reid's indebtedness to Bacon in his treatment of sensations as a system of signs. Finally, Reid develops a theory of evidence and common sense which owes much to the legal discussion of the time. This again links Reid to Bacon who made a similar use of legal metaphors in defending his philosophy of science against scholastic apologists. By appealing to textual evidence in the works of both philosophers' writings and reconstructing Reid's positions in light of this influence, it is hoped that a better understanding of Reid's notion of common sense is ultimately reached as well as a solution to the problem of intentionality in Reid's theory of perception. (shrink)

I. The framework. 1, Aristotle's project and methods. 2, The perceptual capacity of the soul. 3, The sensory apparatus. 4, The common sense and the related capacities -- II. The terminology. 1, Overlooked occurrences of the phrase 'common sense'. 2, De anima III.1 425a27. 3, De partibus animalium IV.10 686a31. 4, De memoria et reminiscentia 1 450a10. 5, De anima III.7 431b5. 6, Conclusions on the terminology -- III. Functions of the common sense. 1, Simultaneous perception and cross-modal binding. 2, (...) Perceptual discrimination. 3, Waking, sleep, and control of the senses. 4, Perceiving that what we see and hear, and monitoring of the senses. 5, Other roles of the common sense -- Conclusion. (shrink)

This book offers an important study of Aristotle's theory of the sense-organs. It aims to answer two questions central to Aristotle's psychology and biology: why does Aristotle think we have sense-organs, and why does he describe the sense-organs in the way he does? The author looks at all the Aristotelian evidence for the five senses and shows how pervasively Aristotle's accounts of the sense-organs are motivated by his interest in form and function. The book also engages with the celebrated (...) problem of whether perception for Aristotle requires material changes in the perceiver. It argues that, surprisingly to the modern philosopher, nothing in Aristotle's description of the sense-organs requires us to believe in such changes. (shrink)

Chapter INTRODUCTION i. The Problem Why suppose that sense perception is, by and large, an accurate source of information about the physical environment? ...

Originally published in 1964. In four essays, Professor Mandelbaum challenges some of the most common assumptions of contemporary epistemology. Through historical analyses and critical argument, he attempts to show that one cannot successfully sever the connections between philosophic and scientific accounts of sense perception. While each essay is independent of the others, and the argument of each must therefore be judged on its own merits, one theme is common to all: that critical realism, as Mandelbaum calls it, is a viable (...) epistemological position, even though some schools of thought hold it in low esteem. (shrink)

It is one of the premises of eliminative materialism that commonsense psychology constitutes a theory. There is agreement that mental states can be construed as posited entities for the explanation and prediction of behavior. Disputes arise when it comes to the range of the commonsense theory of mental states. In chapter one, I review major arguments concerning the span and nature of folk psychology. In chapter two, relying on arguments by Quine and Sellars, I argue that the precise scope of (...) commonsense psychology cannot be determined because there are no resources to distinguish claims that are commonsense from all others. I use this conclusion to evaluate Churchland’s proposal that folk psychology should be eliminated in favor of a scientific theory. I argue that, although such an elimination is possible, it is unnecessary because commonsense psychology is in part informed by scientific theories. The properties that are usually attributed to mental states, on my view, are not common sense and would re-emerge even if we replaced our current theory with a scientific one. In chapter three, I examine how this affects eliminativist arguments, such as Churchland’s proposals for how to solve the emergence of the phenomenal character of sensations. I argue that it might be the case that some phenomenal properties are the result of endorsing a particular theory, but phenomenal character as such is a permanent feature of any theory about internal states. Addressing the problem of the incorrigibility of mental states, in chapter four, I challenge Rorty’s idea that such a property is the mark of the mental and can be attributed to our mental states based on our everyday usage of mental terms. The position asserted in the dissertation is compatible with the view that any theory can be revised, but doubts are expressed concerning the likelihood for a complete replacement of the current folk-psychological theory. Taking inspiration form Sellars, in chapter five, I argue that the establishment of a conceptual framework entails a wholistic jump from no concepts to a rudimentary framework. With this leap some properties are solidified and stand in the way of elimination. (shrink)

We reflect upon quantification in biology in two ways. First, from a sensory scientific perspective, we address theories and methods for studying sensation, perception, and cognition. Sensory science concerns action of the human senses, which are not passive receivers but operate in an active and fundamental way for human beings in various social and environmental contexts. In the past one could only handle one-to-one relationships within a univariate framework. Today we have tools to capture complexity closer to real (...) world situations. Thus, the second perspective is rooted in multivariate thinking and modeling tools. Relying mainly on soft modeling-exploratory methods, such as partial least squares regression, we claim that quantification in sensory biology in the future should be met with a dialectic view that simultaneously exploits the two perspectives. (shrink)

This chapter contains sections titled: Sensation Desire Note Bibliography.

Let us use ‘sensation’ such that we can talk about ‘visual sensation’ and ‘auditory sensation’, and such that ‘sensation’ cannot readily be pluralized. It then makes sense to talk about the “objects” involved in sensation. For example, if someone sees red, where his seeing red is a case of sensation, then there is an “object” involved in the situation in the sense that we can talk about “what” he sees. One of the enduring problems (...) in philosophy is to try to determine the status of such objects. (shrink)

"Traité des sensations" par Etienne Bonnot de Condillac. Etienne Bonnot de Condillac était un philosophe français (1715-1780).

We reflect upon quantification in biology in two ways. First, from a sensory scientific perspective, we address theories and methods for studying sensation, perception, and cognition. Sensory science concerns action of the human senses, which are not passive receivers but operate in an active and fundamental way for human beings in various social and environmental contexts. In the past one could only handle one-to-one relationships within a univariate framework. Today we have tools to capture complexity closer to real (...) world situations. Thus, the second perspective is rooted in multivariate thinking and modeling tools. Relying mainly on soft modeling-exploratory methods, such as partial least squares regression, we claim that quantification in sensory biology in the future should be met with a dialectic view that simultaneously exploits the two perspectives. (shrink)

Millar argues against the tendency in current philosophical thought to treat sensory experiences as a peculiar species of propositional attitude. While allowing that experiences may in some sense bear propositional content, he presents a view of sensory experiences as a species of psychological state. A key theme in his general approach is that justified belief results from the competent exercise of conceptual capacities, some of which involve an ability to respond appropriately to current experience. In working out this approach the (...) author develops a view of concepts and their mastery, explores the role of groundless beliefs drawing on suggestions of Wittgenstein, illuminates aspects of the thought of Locke, Hume, Quine, and Goldman, and finally offers a response to a sophisticated variety of scepticism. (shrink)

This book presents a critical analysis of sense-making practices through an exploration of acoustic, creative, and artistic spaces. It studies how local cultures of sight, hearing, smell, taste, and touch are impacted by global discourses and media, such as television, popular music, digital media, and literature. The authors look at sense-making practices and spatial discourses through an interconnected discussion on thought and experience that seeks to present a multidimensional cartography of the global, the local, and the glocal, to closely analyze (...) the phenomenon of globalization. The volume is an investigation of the possibilities of alternate, sustainable modes of being and existing in a world which requires a unified, ethical, biopolitical worldview that challenges the disparity of its fragments while speculating on their synesthetic conditionality. A unique contribution, the book will be of interest to scholars and researchers of English literature, media studies, cultural studies, literary cultures, post-colonial studies, globalization studies, philosophy, critical theory, sociology, and social anthropology. (shrink)

John Smith (1618-1652), the 17th century Cambridge Platonist, employed the traditional language of the spiritual senses of the soul to develop an early modern theological aesthetic central to his religious epistemology and thus to his philosophy of religion and systematic theology. As a Christian Platonist, Smith advocated intellectual intuition of Divine Goodness as the key to theological knowledge and spiritual practice. Additionally, Smith’s theory of prophecy rests on the reception of sensible images in the imagination. Chapter one lays out (...) how Smith’s place in this tradition has been under-appreciated by scholars working on the Cambridge Platonists and the spiritual senses. Chapter two presents an interpretive summary of the spiritual senses tradition and proposes a functional typology that registers three uses of non-corporeal perception throughout the history of Christian theology: (1) accounts of the origin and methods of theological knowledge, (2) descriptions of spirituality, and (3) attempts to systematically present or defend Christian theology. Chapter three places Smith in his historical and intellectual context in early seventeenth century England noting especially how his education prepared him to contribute to the mystical tradition of the spiritual senses of the soul. Chapter four argues that Smith’s theories of theological knowledge, method, and prophecy rest on his development of the spiritual senses tradition, combining intellectual intuition and imaginative perception. Chapter five addresses the role of spiritual aesthetics in Smith’s prescriptive account of Christian piety. Here the spiritual senses are both means and reward in the spiritual life in the process of deification (theosis). Chapter six demonstrates how Smith’s theology forms a coherent system with intellectual intuition informing natural theology and revelation being supplemented by spiritual perception via the imagination. The central uniting feature therefore is the spiritual perception of theological truth. Chapter seven closes with a summary of Smith’s various uses of the spiritual senses and proposes future research on his influence upon later figures including Jonathan Edwards, John Wesley, and prospective constructive work inspired by Smith’s combination of reason and experience in religion. (shrink)

According to epiphenomenalism, our behavior is caused by events in our brains that also cause our mentality. This resulting mentality reflects our brains¿ organization, but does not in turn cause anything. This book defends an epiphenomenalist account of philosophy of mind. It builds on the author¿s previous work by moving beyond a discussion of sensations to apply an epiphenomenalist outlook to other aspects of mental causation such as beliefs, desires, pleasure, and displeasure. The first four chapters of the book argue (...) for a dualistic theory of sensations and develop an epiphenomenalist version of dualism. The remaining chapters discuss propositional attitudes and valence. The author also responds to potential objections to epiphenomenalism by considering how sensations, intelligence, or understanding might be built into a robot. This book will be of interest to scholars and students in philosophy of mind who are interested in consciousness, mental causation, and how our mentality is situated in the world. (shrink)

Intended for courses in sensation and perception, this book covers the anatomy, physiology and phenomenology of the way humans sense and perceive the world. It is grounded in physiology to explain perceptual phenomena, on the theory that understanding sensation and perception is based in the physiology of the sensory organs and the brain.

In the well-known intentionality quote of his Psychology from an Empirical Standpoint, Brentano characterises the mental phenomena through the following features: the intentional inexistence of an object, the relation to a content, and the direction toward an object. The text argues that this characterisation is not general because the direction toward an object does not apply to the mental phenomena of sensation. The second part of the paper analyses the consequences that ensue from here for the Brentanian classification of (...) mental phenomena: in Brentano’s psychology one can distinguish two concepts of mental phenomena—the mental phenomenon in a broad sense and the mental phenomenon in a narrow sense; the former concept allows the separation of the mental from the physical, while the narrow concept allows the distinguishing of the main classes of mental phenomena. The third part of the paper shows that, with respect to sensation, the absence of a direction toward an object is compatible with both Brentano’s early taxonomies of philosophical sciences, and his early program for the establishment of a new, empirical and non-speculative philosophy. For this reason, I hold that intentionality is important for the foundation of both psychology, and empirical philosophy. (shrink)

We argue that there is a interesting connection between the old problem of the Speckled Hen and an argument that can be traced from Russell to Armstrong to Putnam that we call the “gradation argument.” Both arguments have been used to show that there is no “Highest Common Factor” between appearances we judge the same – no such thing as “real” sensations. But, we argue, both only impugn the assumption of epistemic certainty regarding introspective reports.

This collection grew out of a conference held in Uppsala in 2002, at which an international group of scholars met to discuss several texts from between 1100 and 1700 dealing with questions of philosophical psychology. The conference was motivated by the thesis that the history of philosophy in these six centuries should not be divided into a medieval and a modern period, but rather seen as a continuous tradition .Henrik Lagerlund’s introduction traces the origin of issues in contemporary philosophy of (...) mind to an event well before Descartes , namely the Latinizing introduction of Aristotelian Arabic thought in the twelfth century . But there is a difference between contemporary and earlier concerns: “Today we want to explain how phenomena like consciousness and intentionality are possible in a material world. The problem that faced medieval philosophers and Descartes was rather the opposite, that is, how can matter at all have an effect on the mental and how can such a noble thing as a mind be united to a material body” . Moreover, there are in fact several mind-body problems: the interaction problem, the unification problem, the problem of the existence of sensations in the mind, and the problem of combining and reconciling efficient and. (shrink)

Like their contemporary counterparts, early modern philosophers find themselves in a predicament. On one hand, there are strong reasons to deny that sensations are representations. For there seems to be nothing in the world for them to represent. On the other hand, some sensory representations seem to be required for us to experience bodies. How else could one perceive the boundaries of a body, except by means of different shadings of color? I argue that Nicolas Malebranche offers an extreme -- (...) and ultimately unworkable -- attempt to solve this riddle. Most commentators claim that Malebranche defends an adverbial theory of sensation, according to which a sensation is merely a way in which an act of sensing happens. The adverbial reading is wrong, or so I argue. Once we arrive at a more accurate reading, we shall see that his position is much more strange than is currently thought. Nevertheless, Malebranche’s view is similar to the adverbial theory in one respect, albeit it at a very high level of generality. His view thus inherits two of the main problems that afflict adverbial theories. Although Malebranche fails to solve them, his ingenious attempts to do so are instructive. (shrink)