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)

A groundbreaking study of deafness, by a philosopher who combines the scientific erudition of Oliver Sacks with the historical flair of Simon Schama. There is nothing more personal than the human voice, traditionally considered the expression of the innermost self. But what of those who have no voice of their own and cannot hear the voices of others? In this tour de force of historical narrative, Jonathan Ree tells the astonishing story of the deaf, from the sixteenth century to the (...) present. Ree explores the great debates about deafness between those who believed the deaf should be made to speak and those who advocated non-oral communication. He traces the botched attempts to make language visible, through such exotic methods as picture writing, manual spellings, and vocal photography. And he charts the tortuous progress and final recognition of sign systems as natural languages in their own right. I See a Voice escorts us on a vast and eventful intellectual journey,taking in voice machines and musical scales, shorthand and phonetics, Egyptian hieroglyphs, talking parrots, and silent films. A fascinating tale of goodwill subverted by bad science, I See a Voice is as learned and informative as it is delightful to read. (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)

This path-breaking book examines our attitudes to the senses from antiquity through to the present day.

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)

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)

This book is a tour-de-force on how human consciousness may have evolved. From the "phantom pain" experienced by people who have lost their limbs to the uncanny faculty of "blindsight," Humphrey argues that raw sensations are central to all conscious states and that consciousness must have evolved, just like all other mental faculties, over time from our ancestorsodily responses to pain and pleasure. '.

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)

A. NATURAL. HISTORY. OF. THE. SENSES. “This is one of the best books of the year—by any measure you want to apply. It is interesting, informative, very well written. This book can be opened on any page and read with relish.... thoroughly  ...

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

The term ‘consciousness’ is a latecomer upon the stage of Western philosophy. The ancients had no such term. Sunoida, like its Latin equivalent conscio, meant the same as ‘I know together with’ or ‘I am privy, with another, to the knowledge that’. If the prefixes sun and cum functioned merely as intensifiers, then the verbs meant simply ‘I know well’ or ‘I am well aware that’. Although the ancients did indeed raise questions about the nature of our knowledge of our (...) own perceptions and thought, and introduced the idea of an inner sense, they did not characterize the mind as the domain of consciousness. Aristotelians conceived of the mind as the array of powers that distinguish humanity from the rest of animate nature. The powers of self-movement, of perception and sensation, and of appetite, are shared with other animals. What is distinctive of humanity, and what characterizes the mind, are the powers of the intellect – of reason, and of the rational will. Knowledge of these powers is not obtained by consciousness or introspection, but by observation of their exercise in our engagement with the world around us. The mediaevals followed suit. They likewise lacked any term for consciousness, although they too indulged in reflections upon ‘inner senses’ – in the wake of Avicenna's distinguishing, arguably to excess, five such senses. (shrink)

Epicurus claimed that „all sensations are true”, and that the false is only in the opinions. This paradoxical theory, very much criticized both by ancient and modern commentators, for it seems counterfactual, draws on Aristotle’s theory of sensations. Aristotle holds that sensations and opinions must be distinguished. As long as sensations stick to their „proper domain”, they remain trustworthy and cannot refute each other, regardless of whether they are similar or different in kind. Yet they can fail to perceive the (...) truth, when they pass beyond their proper domain into what one can call their „improper domain”. At this moment sensations resemble opinions and become fallible. So, to a certain extent, the divide between sensations and opinions becomes blurred. Epicurus seems to have taken up much of this theory. Yet he submitted it to a radical simplification: now, there is no room for the „improper domain”, so that all one sensation seizes always belongs to its „proper domain”. Thus it can never be refuted neither by a similar, nor by a dissimilar sensation in kind; therefore it is always and in every circumstance trustworthy. One can add that, in reshaping Aristotle’s theory of senses by removing the „improper domain”, Epicurus purged the theory of senses of all elements that could involve uncertainty and imprecision – which is typical for his strenuous attempt to achieve calm and serenity. (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)

Illness -- Loneliness -- Violation -- Love.

In ancient China, the preparation of food and the offering up of food as a religious sacrifice were intimately connected with models of sagehood and ideas of self-cultivation and morality. Drawing on received and newly excavated written sources, Roel Sterckx's book explores how this vibrant culture influenced the ways in which the early Chinese explained the workings of the human senses, and the role of sensory experience in communicating with the spirit world. The book, which begins with a survey (...) of dietary culture from the Zhou to the Han and offers some intriguing insights into the ritual preparation of food--some butchers and cooks were highly regarded and would rise to positions of influence as a result of their culinary skills--and the sacrificial ceremony itself. As a major contribution to the study of early China and to the development of philosophical thought, the book will be essential reading for students of the period, and for anyone interested in ritual and religion in the ancient world"--Provided by publisher. (shrink)

Sensationalism and Scientific Explanation is a critical examination of the view that scientific statements can be understood only in terms of basic 'atoms' of experience, also called 'sensations'. Presenting different extremes of this view, the book considers whether it can provide an adequate account of science as we find it. It explores in detail the sensationalist account of science set out by Ernst Mach in relation to various aspects of scientific investigation and theorizing, and puts forward an argument for the (...) 'inherent weakness of sensationalism'. Sensationalism and Scientific Explanation will appeal to those with an interest in the history and philosophy of science. (shrink)

In his famous monadological metaphysics, Leibniz distinguishes between simple monads, animal monads, and rational monads or minds. This tripartite metaphysical distinction is mirrored by his discrimination between cognitive performances these three types of monads are capable of. Simple monads perceive; animal monads additionally remember, sense, and mimic reasoning by associating mental images; rational monads, furthermore, think, reflect on and know themselves, know eternal truths, and reason logically. This essay will focus on Leibniz's account of the cognitive performances of minds and (...) their relationship to those of animal monads. After Leibniz's notion of perception is introduced in section three, in section four the essay turns to his conception of sensation in animal monads. The following sections five to seven address the mental performances typical of minds and present Leibniz's conceptions of ideas, concepts, thoughts, apperception, sensation in rational monads, and conscientia. While at the beginning of the essay Leibniz's views get situated in the context of early modern philosophy of mind, especially as it relates to Descartes and the Aristotelian tradition, the essay concludes with a summary of the main innovations we find in his conception of cognition. (shrink)

This chapter begins with a brief discussion of the ways in which the five resemble each other and the reasons for grouping them all together as senses. It then traces the history of the philosophy of sensation from its beginnings in the philosopher who was both the first systematic psychologist and the first systematic physiologist, namely Aristotle. It is argued that sensation is not the same thing as the acquisition of information about sensible objects; a sense is (...) essentially a modality for acquiring information in a modality which admits of pleasure and pain. The distinction between the intellectual knowledge that p and the sensation that p is to be sought, as Aristotle said, in the different relationship of each mode of cognition to pain and pleasure understood in the widest sense. (shrink)

The Inner Touch presents the archaeology of a single sense: the sense of being sentient. Aristotle was perhaps the first to define this faculty when in his treatise On the Soul he identified a sensory power, irreducible to the five senses, by which animals perceive that they are perceiving: the simple "sense," as he wrote, "that we are seeing and hearing." After him, thinkers returned, time and again, to define and redefine this curious sensation. The classical Greek and (...) Roman philosophers as well as the medieval Arabic, Hebrew, and Latin thinkers who followed them all investigated a power they called "the common sense," which one ancient author likened to "a kind of inner touch, by which we are able to grasp ourselves." Their many findings were not lost with the waning of the Middle Ages. From Montaigne and Francis Bacon to Locke, Leibniz, and Rousseau, from nineteenth-century psychiatry and neurology to Proust and Walter Benjamin, the writers and thinkers of the modern period have turned knowingly and unknowing to the terms of older traditions in exploring the perception that every sensitive being possesses of its life.The Inner Touch reconstructs and reconsiders the history of this perception. In twenty-five concise chapters that move freely among ancient, medieval, and modern cultures, Daniel Heller-Roazen investigates a set of exemplary phenomena that have played central roles in philosophical, literary, psychological, and medical accounts of the nature of animal existence. Here sensation and self-sensation, sleeping and waking, aesthetics and anesthetics, perception and apperception, animal nature and human nature, consciousness and unconsciousness, all acquire a new meaning.The Inner Touch proposes an original, elegant, and far-reaching philosophical inquiry into a problem that has never been more pressing: what it means to feel that one is alive.Winner of the Aldo and Jeanne Scaglione Prize for Comparative Literary Studies. (shrink)

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)

Analyzes Aristotle's doctrine of the intellect and sensation.

The Symposia Aristotelica were inaugurated at Oxford in 1957. They are conferences of select groups of Aristotelian scholars from the UK, USA and Europe, and are held every three years. In 1975 the meeting was held in Cambridge and was devoted to Aristotle's psychological treatises, the De anima and the Parva uaturalia. The members of the conference discussed some of the much debated problems of Aristotle's psychology and broached important new topics such as his ideas on imagination. Dr Lloyd and (...) Professor Owen have collected and edited the papers presented to the Symposium and provided an analytical index. (shrink)

Just like the self, sensations and emotions expressed in literature are elusive issues. Necessarily separated from living reality and yet, in a sense, a mirror of it, linguistic coding of bodily feeling and emotional feeling became subject of avid interest among scholars of historical emotion research and the history of mentality in intra- and intercultural perspectives. This volume combines eleven essays with critical discussions concerning the bidirectional network of sense perception and emotion. Exploring the theme from different angles - psychological, (...) medical, and literary - From Skin to Heart highlights the intimate interrelationship between bodily sensations, states of mind, and the emotions from pain, illness, and self-destruction to love-sickness and self-sacrifice in early Chinese poetry and ethics and late imperial lyrics and narrative. The partly descriptive, partly analytical essays are contributions of a new wave of Continental and American sinology that, inspired by cultural studies, discourse analysis, and rhetorical analysis, offers fresh views on body and psyche as locked into and emerging from Chinese primary sources. An appendix provides additional examples of the rich linguistic material referring to phenomena of sense perception and the affective sphere and their interdependence. (shrink)

"Ce volume propose l'analyse de la place qu'occupent les cinq sens dans cette période de transition qui conduit du Moyen Âge à la Renaissance, soit les XVe et XVIe siècles. L'approche en est résolument interdisciplinaire et confronte la théologie, la littérature, les arts figurés et les sciences. Il s'agit d'apprécier les sens dans les modes de pensée et les représentations, ainsi que leurs balances : la vue, l'ouïe et les sens réputés moins nobles, comme le goût, l'odorat et le toucher, (...) qui entretiennent des relations complexes et variables. Comment, en d'autres termes, s'opère le partage du sensible? La pensée analogique, héritée de la tradition patristique, montre à l'aube de la Renaissance des signes de faiblesse : sources du plaisir, du bonheur, voire de la béatitude, ouverture sur le monde et la beauté, les sens ne sont plus simplement des occasions de pécher, ils sont aussi l'objet d'enjeux esthétiques et jouent un rôle actif dans la création artistique grâce aux liens qui les unissent à l'imaginaire."--Page 4 of cover. (shrink)

I argue that Leibniz’s doctrine of sensory representation is intended in part to close an explanatory gap in his philosophical system. Unlike the twentieth century explanatory gap, which stretches between neural states on one side and phenomenal character on the other, Leibniz’s gap lies between experiences of secondary qualities like color and taste and the objects that cause them. The problem is that the precise arrangement and distribution of such experiences can never be given a full explanation. In response, Leibniz (...) appeals to representation. I argue that the sense in which Leibnizian sensations are representations is too weak to close his explanatory gap. In the end, he must appeal to the doctrine of the best possible world. (shrink)

From the winds of Mars to a baby's first laugh, a prolific philosopher-composer reflects on the profound imperative of sound in everyday life. Experiencing Sound presents its subject, the one sense we can never stop using, as fundamental to all experience-sensation, perception, and understanding. Lawrence Kramer turns on its head the widespread notion that vision takes pride of place among the senses and demonstrates how paying attention to sound can transform how we make meaning out of experience. Through (...) a series of brief, lyrical forays, Experiencing Sound shows that sound is the object of a primary need and an essential component in the sensation of being alive and the perception of time. It is something that we may suffer-or be made to suffer-as well as enjoy. Like its predecessor, The Hum of the World, this book ranges widely across music, philosophy, literature, art, media, and history, from classical antiquity to the present, as it invites us to experience sound anew. (shrink)

Aristotle claims that Empedocles took perception and knowledge to be the same; Theophrastus follows Aristotle. The paper begins by examining why Aristotle and Theophrastus identify thought/knowing with perception in Empedocles. I maintain that the extant fragments do not support the assertion that Empedocles identifies or conflates sensation with thought or cognition. Indeed, the evidence of the texts shows that Empedocles is careful to distinguish them, and argues that to have genuine understanding one must not be misled into supposing that (...) sense perception is sufficient for knowledge. Nevertheless, sense perception is necessary for human knowing. (shrink)

The study of perception and the role of the senses have recently risen to prominence in philosophy and are now a major area of study and research. However, the philosophical history of the senses remains a relatively neglected subject. Moving beyond the current philosophical canon, this outstanding collection offers a wide-ranging and diverse philosophical exploration of the senses, from the classical period to the present day. Written by a team of international contributors, it is divided into six (...) parts: -/- Perception from Non-Western Perspectives Perception in the Ancient Period Perception in the Medieval Latin/Arabic Period Perception in the Early Modern Period Perception in the Post-Kantian Period Perception in the Contemporary Period. The volume challenges conventional philosophical study of perception by covering a wide range of significant, as well as hitherto overlooked, topics, such as perceptual judgment, temporal and motion illusions, mirror and picture perception, animal senses and cross-modal integration. By investigating the history of the senses in thinkers such as Plotinus, Auriol, Berkeley and Cavendish; and considering the history of the senses in diverse philosophical traditions, including Chinese, Indian, Byzantine, Greek and Latin it brings a fresh approach to studying the history of philosophy itself. -/- Including a thorough introduction as well as introductions to each section by the editors, The Senses and the History of Philosophy is essential reading for students and researchers in the history of philosophy, perception, philosophy of mind, philosophical psychology, aesthetics and eastern and non-western philosophy. It will also be extremely useful for those in related disciplines such as psychology, religion, sociology, intellectual history and cognitive sciences. (shrink)

Additional arguments for sense‐data begin by defending the claim that perceptual sensations are psychological individuals, examples being phosphenes, after‐images, and the ‘ringings’ of ‘tinnitus’. Five arguments for sense‐data follow. First, that since corresponding to every veridical visual field is a possible non‐veridical visual field of sensations, the latter merely needs a different and regular outer cause to be deemed veridical. Second, since bodily sensation experience is extremely strong evidence for the existence of a matching sensation cause, the experience (...) of ‘ringing’ must be strong evidence that a ‘ringing’ sensation is its cause, and this holds in the veridical hearing of a ringing sound. Third, that it is inconceivable that one has a truly visual experience of a red visual field, and absolutely nothing red‐looking be there before one had noticed. Fourth, that the experience of sound might have had a different developmental history, in which first there was merely experience of auditory sensation, and then over millennia such experience gradually found itself caused by regular outer phenomena, thereby constituting the hearing of sound. And a fifth argument that resembles the first argument. (shrink)

Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece of modern (...) aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel Sömmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes Müller, who invented the concept of "sense energies"; and Müller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von Békésy; political activist and philosopher Günther Anders; and Martin Heidegger. (shrink)

For Reid, sensations do not enter into the analysis of perception proper. Instead they “intervene” between the effects of bodily qualities on our sense organs and our perception of those qualities (Inq VI xxi, 174).1 The question addressed in this essay is: What sort of thing does Reid take this interloper to be?2 The answer defended is that sensations are reflexive mental acts, i.e., acts which take themselves as objects.

For Reid, the external senses have a “double province.” They give rise to both sensation and perception. This essay is about the relation of sensation and perception, a relation Reid’s sign theory of sensations describes. Drawing on Reid’s distinctions between general and particular principles of our constitution, relative and absolute conceptions, and original and acquired perception, the paper systematizes Reid’s sporadic comments on the sign theory. The aim is to offer an interpretation which reveals the overall structure, (...) rationale and coherence of Reid’s sign theory. (shrink)

Throughout history, the concepts of phantasia or imaginatio have been linked to the concept of the human body and in particular to our sensory perceptions. But phantasia/imaginatio have also always been linked to the mind and how the operations of the mind are connected with bodily sensations. Functioning as interface between the senses and the mind, phantasia has predominantly been exemplified with the notion of the visual image, rather than a tactile or oral depiction. But as emphatic as discussion (...) of the image has been, in particular throughout the Renaissance period and again in modernity, it has hardly been linked to the contemporaneous technology of imagery that accompanied the theoretical discourses on imagination. The article will flesh out central historical and systematic aspects of the concept of imagination, but instead of submitting them to a history of ideas it will turn to a comparative study of the first monograph on imagination by the Renaissance philosopher Gianfrancesco Pico della Mirandola from 1501 and Sigmund Freud’s Interpretation of Dreams from 1900 to investigate their respective understandings of imagination and inner images in the light of the technology of imagery. (shrink)

Kant's concept of sensuality, one of the revolutionary innovations of his philosophy, is anything but self-evident. It was however not recognized as a problem until it had been established how its specific aspects differ from the customary linguistic usage and the use of the term in the 18th century. The analysis of sources from the history of concepts which have hardly been considered up to now, the discussion of specific problems connected to Kant's language regulation and the examination of the (...) Latin source material show that there is a need for the revision of certain aspects. This applies not only to the history of the term sensuality but also to the lexicography which has been corrected and supplemented. In addition to the information for the history of aesthetics, this work makes an important contribution to determining the correct date of Kant's handwritten reflections. Kants Verstandnis von Sinnlichkeit, eine der umsturzenden Neuerungen seiner Philosophie, ist alles andere als selbstverstandlich. Als Problem erkennbar wird es jedoch erst dann, wenn herausgearbeitet wird, wie sich seine spezifischen Momente von dem im 18. Jahrhundert ublichen Sprach- und Begriffsgebrauch unterscheiden. Die Analyse von begriffsgeschichtlich bisher kaum berucksichtigten Quellen, die Erorterung der Sachprobleme, die mit der wohluberlegten Sprachregelung Kants verbunden sind, und die Untersuchung der lateinischen Vorlagen ergeben manchen Revisionsbedarf. Betroffen sind sowohl die Geschichte des Begriffs der 'Sinnlichkeit', als auch die Lexikographie, die korrigiert und erganzt wird. Neben Aufschlussen fur die Geschichte der deutschen Asthetik leistet die Arbeit einen wichtigen Beitrag zur richtigen Datierung von Kants handschriftlichen Reflexionen aus dem Nachlass. (shrink)

This edited volume of newly commissioned papers aims to further understanding of the philosophy of perception and its history. It seeks a broad historical coverage, to include works outside the Western tradition and figures only newly prominent within the Western tradition. Its principal theme is the problem of perceptual error, which it asserts has been understudied, at least in antiquity and the middle ages, as has, allegedly, the history of theories of perception more generally. The individual chapters are typically of (...) high quality and add to the extant literature. The focus, as is usual, is on visual perception, but blindness and touch come forward in three chapters on Molyneux's... (shrink)

Descartes analysed the mind into various faculties or powers, including pure intellect, imagination, senses, and will. This article focuses on his account of the sensory power, in relation to its Aristotelian background. Descartes accepted from the Aristotelians that the senses serve to preserve the body by detecting benefits and harms. He rejected the scholastic Aristotelian sensory ontology of resembling species, or ‘forms without matter’. For the visual sense, Descartes offered a mechanistic ontology and a partially mechanized account of (...) sensory processes, including some previously ascribed to judgement. He did this in the context of his theory of brain signs that prompt sensations. The article contends that Descartes’s use of the sign-relation was modelled on standard discussions of non-resembling signs in commentaries on Aristotle’s De interpretatione. It follows three uses of the sign-relation: brain states that cause colour sensations; brain states that cause experiences of spatialized contents, such as shapes; and brain states that realize a ‘natural geometry’. It argues that Descartes’s natural geometry does not involve mental operations but physiological mechanisms that co-vary with the distance to seen objects. While retaining the language of sensory powers, Descartes offered a partial mechanization of those powers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.1 (2001) 49-75 [Access article in PDF] Sensible Ends:Latent Teleology in Descartes' Account of Sensation Alison Simmons One of Descartes' hallmark contributions to natural philosophy is his denunciation of teleology. It is puzzling, then, to find him arguing in Meditation VI that human beings have sensations in order to preserve the union of mind and body (AT VII 83). 1 This appears (...) to be just the sort of teleological explanation that he proscribes. Descartes' Anglo-American commentators have had little to say about the teleological overtones of his claims about sensation. His French commentators acknowledge these overtones, but seem largely untroubled by them. 2 It is worth pausing to be troubled, for a closer analysis reveals that Descartes' famous proscription against teleology is not as simple as it is generally thought to be. In the first half of this essay, I argue that Descartes advocates a genuinely teleological conception of the senses. My aim is not to charge Descartes with employing illicit teleology, but to argue that there is a place for teleology even in his revisionist natural philosophy. Accordingly, in the second half of this essay, I argue that Descartes' assault on teleological explanation is [End Page 49] not a sweeping assault on finality, but a more directed attack on particular uses of ends in natural philosophy. Descartes' assault leaves standing a form of teleological explanation that proves crucial to his own treatment of sensation. 1. Descartes' Rejection of Teleological Explanation at a Glance A teleological explanation is one that purports to account for something in terms of its ends or its function relative to the ends of the system of which it is a part. Aristotle's physics provides many classic examples: plants produce leaves for the protection of their fruit; spiders spin webs in order to catch food; animals grow sharp front teeth and dull back teeth in order to facilitate biting and chewing respectively; eyes are for seeing. According to Aristotle, all natural phenomena are directed toward ends and no explanation is complete without a teleological component that specifies the end for the sake of which the phenomenon occurs. Indeed ends take explanatory priorityover other causes: "Both causes [the end and the matter] must be stated by the student of nature, but especially the end; for that is the cause of the matter, not vice versa." 3 And: [T]he causes concerned in natural generation are, as we see, more than one. There is the cause for the sake of which [the end], and the cause whence the beginning of motion comes [the efficient cause]. Now we must decide which of these two causes comes first, which second. Plainly, however, that cause is the first which we call that for the sake of which. For this is the account of the thing, and the account forms the starting-point.4In other words, Aristotle argues that natural substances have the matter they do, have the parts or organs they do, are organized as they are and act as they do for the sake of their ends. To explain why things are as they are, the natural philosopher must therefore explain the ways in which they contribute to ends.Among the late scholastic Aristotelians familiar to Descartes there is considerable debate concerning the causal efficacy of ends. Genuine final causation, in which something is said to be acted on by an end, is limited to the intentional behavior of rational agents who consciously recognize their ends: only something that recognizes an end can be "moved" by one. Even here the sort of causation involved is peculiar: a rational agent is "moved" by an end insofar as the end induces a "metaphorical motion" toward (or desire for) the end in the agent's will. 5 While these scholastic Aristotelians resist attributing final causation [End Page 50] to non-rational creatures, they nevertheless persist in attributing ends to them. When Toletus, Rubio, the Coimbrans and Suarez take up the question whether nature acts propter finem, each answers it affirmatively: natural... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Tetsugaku Companion to Nishida Kitarō ed. by Matsumaru Hisao, Arisaka Yoko, and Lucy Christine SchultzFernando Wirtz (bio)Tetsugaku Companion to Nishida Kitarō. Edited by Matsumaru Hisao, Arisaka Yoko, and Lucy Christine Schultz. Cham, Switzerland: Springer, 2022. Pp. v + 240. Hardcover $109.99, isbn 978–3-319417-83-7.This collection of essays has several virtues. First, although Nishida is one of the most widely translated Japanese philosophers into English, this is the first collection (...) of interpretative essays that attempts to cover the different aspects and stages of his work in a comprehensive manner.Second, this collection gives voice to several Japanese scholars who have long been working on Nishida's philosophy, but who are nevertheless little known outside Japan. Of course, as the editors explain in the introduction, the book intentionally seeks to incorporate perspectives that may dislocate the reader given the "fact that academic authors in countries other than the English-speaking Anglo-American regions write differently to express their ideas" (p. vii). This is a significant gesture, since Japanese philosophy has from its very beginnings been wracked by the problem of translation and counter-translation. It is an act of courage for the book to acknowledge that there are different "forms of expression" that, even if they may confuse the Anglo-American reader, serve to broaden the reader's philosophical sensibility (p. xiii–xiv).Third, rather than each chapter limiting itself to expounding Nishida's thought in a general way, each in turn problematizes specific aspects of the philosopher's work, connecting it with other authors and problems.As the editors explain, the book has a bipartite structure. In the first part, several contributors explore "seven principal concepts" that are intended to reflect Nishida's perception of his own system, while in the second part, contributors investigate the place of Nishida's thought in the global history of philosophy, drawing connections between Nishida's thought and other fields such as religion, science, and art. In addition, the relevance of his thought to both the present and the future is discussed. The book includes an appendix with a chronology of Nishida's life and work and also a glossary of fundamental concepts.In Chapter 1, Nakajima Yuta explores the concept of "pure experience," highlighting its importance in Nishida's later philosophy and its relation to the self-developing structure of consciousness. In particular, Nakajima analyzes the influence of Wilhelm Wundt's Outlines of Psychology in the work An Inquiry into [End Page 1] the Good. In that sense, this article provides the historical context in which Nishida developed his ideas in contrast to the psychologist. As the author points out: "The main point of criticism is that Nishida regards the foundational elements in Wundtian psychology as mere virtual abstractions of the primordial systematic unity of experience" (p. 7). This last statement leads to the recognition that any linguistic limitation of this primordial unity becomes an abstraction, since pure experience is the framework of the meaningful, where all meanings are dynamically generated and superimposed (p. 10).Itabashi Yūjin, in Chapter 2, establishes the transition from pure experience to "absolute free will" in the work, Intuition and Reflection in Self-Awareness, by comparing Nishida's text with the philosophies of Cohen and Schopenhauer. To understand this transition, we must not lose sight, as the author says, that when the self reflects itself in itself, it is self-producing and self-determining. This self-determination is not purely intellectual, but a total activity in which "thinking and sensation are one" (p. 20). Thus, the will is absolute because there is nothing prior to the self-productive activity of the will. For this reason, it is precisely in religious experience that "authentic life" (p. 22) emerges from the negation of the subjective self, that is, from the fiction of a foundation of absolute will.The person responsible for presenting the concept of "self-awareness" is Okada Katsuaki. In Chapter 3, Okada takes as a starting point the "subjectless" (p. 28) character of the Japanese language in order to explain the paradoxical possibility of experience experiencing itself. (p. 30). The self-awareness of the activity of the previous chapters becomes... (shrink)

Philosophers have long distinguished between appearance and reality, and the opposition between a supposedly deceptive surface and a more profound truth is deeply rooted in Western culture. At a time of obsession with self-representation, when politics is enmeshed with spectacle and social and economic forces are intensely aestheticized, philosophy remains moored in traditional dichotomies: being versus appearing, interiority versus exteriority, authenticity versus alienation. Might there be more to appearance than meets the eye? In this strikingly original book, Barbara Carnevali offers (...) a philosophical examination of the roles that appearances play in social life. While Western metaphysics and morals have predominantly disdained appearances and expelled them from their domain, Carnevali invites us to look at society, ancient to contemporary, as an aesthetic phenomenon. The ways in which we appear in public and the impressions we make in terms of images, sounds, smells, and sensations are discerned by other people's senses and assessed according to their taste; this helps shape our ways of being and the world around us. Carnevali shows that an understanding of appearances is necessary to grasp the dynamics of interaction, recognition, and power in which we live-and to avoid being dominated by them. Anchored in philosophy and traversing sociology, art history, literature, and popular culture, Social Appearances develops new theoretical and conceptual tools for today's most urgent critical tasks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.4 (2001) 705-720 [Access article in PDF] On the Notion of "Disinterestedness": Kant, Lyotard, and Schopenhauer Bart Vandenabeele The strange thing, on looking back, was the purity, the integrity, of her feeling for Sally. It was not like one's feeling for a man. It was completely disinterested, and besides, it had a quality which could only exist between women, between women just grown (...) up.--Virginia Woolf, Mrs. DallowayIf the genuine aesthetic experience exists empirically--and it does--then the definition of its specific quality is at the core of any aesthetic theory that is concerned with the particularity of aesthetic appreciation. Firstly, I shall attempt to provide an acceptable interpretation of this extremely intricate issue in Kant and, moreover, question the interpretation of two philosophers--Lyotard and Schopenhauer--who both struggled with the notion of "disinterestedness" and provided a highly original (but often misunderstood) interpretation of it in their own aesthetic theories. I shall argue that Lyotard took for granted something in Kant's aesthetics that Schopenhauer's aesthetic theory tries to resolve, that is, the wide gap between the agreeable and the charming on one side, and the beautiful on the other. Kant: Disinterestedness and Existence The first moment of Kant's Analytic of the Beautiful asserts that our liking in the beautiful cannot originatefrom any interest and that in the beautiful "we are not compelled to give our approval by any interest, whether of sense or of reason" (§ 5, 52). 1 But Kant also insists that the liking in the beautiful does not createany interest in the object either. [End Page 705]What may this mean? As Kant asserts in the beginning of section 5, it means that "a judgment of taste is merely contemplative, i.e., it is a judgment that is indifferent to the existence of the object [indifferent in Ansehung des Daseins eines Gegenstandes]: it [considers] the character of the object only by holding it up to our feeling of pleasure and displeasure [nur seine Beschaffenheit mit dem Gefühl der Lust und Unlust zusammenhält]" (§ 5, 51). The requirement that a pure judgment of taste be devoid of all interest forms the foundation of Kant's important distinction between aesthetic liking and the pleasure that may accompany moral judgment or action. 2 Kant's analysis of aesthetic response calls for another discrimination, too: the separation of aesthetic liking from mere sensory pleasure, which is the distinction that will occupy us here.Objects that arouse mere sensual pleasure, such as Belgian chocolates, are said to "gratify" (vergnügen) someone, and are then called "agreeable" (angenehm). An object "which one just likes" (was ihm bloß gefällt) is called beautiful. The incentive that corresponds to this object for thought is, respectively inclination (Neigung) or favor (Gunst). Favor, thus accorded the beautiful, is "the only free liking" (das einzige freie Wohlgefallen) (§ 5, 52). 3 Only pleasure in the beautiful is free of a connection with an interest. Both inclination and rational desire are connected with interest, and "all interest either presupposes a need [Bedürfniß] or gives rise to one; and, because interest is the basis that determines approval [als Bestimmungsgrund des Beifalls], it makes the judgment about the object unfree" (ibid.). As Paul Guyer rightly remarks, "in defining the 'quality' of aesthetic judgment Kant is not making a phenomenological distinction between different kinds of feelings of pleasure, but a distinction between the ways in which different instances of pleasure may be occasioned." 4 What Kant is suggesting is "that the presence or absence of a connection to interest may serve as a criterion for the reflective classification of given pleasures" (ibid).Section 3 aims to show that "a liking for the Agreeable is connected with Interest" (§ 3, 47). Pure favor, which is connected with the beautiful, "cannot be an inclination, or else the beautiful would be agreeable and there would be no aesthetic pleasure." 5 Kant, therefore, makes a crucial (but often overlooked) distinction between two senses of "sensation." 6 In the sense of the Critique of... (shrink)

The doctrine of signs consisting in triadic relations irreducible to the subjective or objective terms that relation of signification brings into unity is a decisive refutation of the central doctrine of Nominalism only individual subjects exist independently of considerations of the finite mind. The imperceptibility of relations as such in their distinction from related things no doubt was (and is) the main source for the credibility of nominalist doctrine denying mind-independent status to relations as such, and perhaps even for the (...) late-blooming of semiotics itself in the long history of philosophy, inasmuch we now realize that precisely the unique being of relation as a suprasubjective mode of being is what gives the sign its indifference to contrast between what is mind-dependent (ens rationis) and mind-independent (ens reale), what is inner (the psychological states which sustain relations of sign) and what is outer (the materialthings of the environment which themselves sustain relations of sign independently of psychological states). By this unexpected route, the “way of signs”, we are thus led across yet another surprise: a wholly new approach to establishing the distinction between “sense” (as including perception along with outer sense) and “intellect” (or ‘understanding’, the intuitive capacity of ‘reason’ to ‘see’ in objects of experience aspects of ‘reality’ — such as a judge or an officer, a photon or an angel — which cannot be reduced anything directlymanifested by external sensation). This subject, of whether humans as “rational animals” differ in kind or (as Hume and many empiricists have held) only in degree from the intelligence of “brute animals”, has been a matter of dispute over the entire history of philosophy. Semiotics, with the discovery that all animals use signs but only human animals come to know that there are signs, suprasubjective triadic relations in their irreducibility to related things which alone sense perception can objectively reveal, thus, is led not only to the species-specific definition of humans as “semiotic animals”, but also to a decisive demonstration of the difference between sense and intellect. Anthony Russell (22 November 1922–1989 April 12) proposed that an essay addressing this point from the perspective of semiotics would be “the first essay worth reading on the subject since the days of Locke and Hume”; whence it is to Russell’s memory that this essay is dedicated. (shrink)

The 1979 partial nuclear reactor meltdown at Three Mile Island was simultaneously hyper-visible and hidden from public view. It was the subject of non-stop media attention, but its causes and consequences required expert explanation. No fire or explosion marked the moment when insensible radionuclides escaped the facility. Yet, residents recalled a variety of troubling sights, sounds, odors, tastes, and sensations. Public distrust percolated in the interstices between government assertions that little radiation had escaped the facility and residents’ sense memories of (...) the incident. This article traces intertwined networks of activists from Japan and Pennsylvania as they mobilized legally, politically, and scientifically to develop evidence about the offsite effects of Three Mile Island. Exploring the distinct cosmology of evidence that activists marshaled, the article shows how they placed the messy, contingent, dynamic living world at the center of inquiries about the meltdown’s consequences. Activists developed new practices of biological witness that reconfigured the interplay between scientific, legal, and moral authority, while concurrently reformulating sufferers’ subjectivities and notions of scientific objectivity. In the process, they suggested that environmental justice entailed epistemic justice. Their cosmology of evidence served as an argument and a material proof that the beloved but suffering living world, and the sciences used to understand it, could and should frame the governance of industrial society’s invisible harms. (shrink)

The cambridge platonists exemplify the fear that newtonian natural philosophy subverts the status of traditional moral and religious beliefs, Which are strongly supported by the innate idea doctrine since it justifies them independently of the senses and the material universe. Isaac barrow, Friend and teacher of newton, Also employs the doctrine approbatively to support his metaphysics as a science of basic principles that constitute the foundation of natural science. Locke's rejection of the doctrine is analyzed and it is suggested (...) that the platonist's treatment of the active role of the mind in sensation could have been developed in eighteenth century britain if locke's polemic had not been so successful. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.1 (2005) 83-105 [Access article in PDF] Does Malebranche Need Efficacious Ideas? The Cognitive Faculties, the Ontological Status of Ideas, and Human Attention Susan Peppers-Bates But whatever effort of mind I make, I cannot find an idea of force, efficacy, of power, save in the will of the infinitely perfect Being. Malebranche, Elucidation 15 One of the signatures of 17th century rationalists is (...) their replacement of the Scholastics's dependence on the deliverances of the senses with a dependence on the deliverances of the intellect as the key to gaining knowledge.1 Correct use of the intellect leading to freedom from the passions and to certain knowledge figures prominently in the works of Spinoza and Leibniz. Descartes's Meditations uses skeptical doubt to withdraw the mind from the senses, and his reliance on the meditative genre not only reveals to his readers the intellect as a distinct source of knowledge, but also trains them to use properly their will or faculty of judgment. Commentators have argued persuasively that overthrowing the sense-based epistemology and metaphysics of the Aristotelians depended on "discovering" the primacy of one's intellect over the senses, and using the deliverances of the mind to establish solid foundations for a new metaphysics and epistemology.2 Indeed, [End Page 83] outlining the proper use of the mind's faculties arguably lay at the basis of the Cartesian program in particular. This importance can be seen in Arnauld and Nicole's influential Port-Royal Logic, which aimed at training its readers in the proper use of the intellect.3Few would question Nicolas Malebranche's inclusion in the rationalist tradition.4 For while Malebranche famously takes ideas out of the Cartesian mind and transports them to God's—thus privileging the divine over the natural light—he shares Descartes's belief that our intellect, not our senses, holds the key to metaphysical truths such as the essence of matter, the mind-body distinction, and the existence of God.5 Yet, recently, Nicholas Jolley has contended that Malebranche's later commitment to "efficacious ideas" undermines his earlier belief in the power of the cognitive faculties: he believes that Malebranche abandons his view that the mind makes "real use" of the intellect to know intelligible objects.6 Jolley's position builds upon Alquié and Robinet's claims that around 1694-95 Malebranche moved from a vision "in" God to a vision "by" God. Now God's ideas act on and modify the soul with both sensations and intellectual concepts, rather than the human intellect contemplating ideas in the Divine Reason.7Alquié and Robinet argue that Malebranche, pushed by the battles with Arnauld and Régis over the status of ideas, introduced the language of "efficacious" ideas to explain how the union of the human and the divine mind is supposed to work.8 Robinet in particular suggests that in cashing out the metaphor of God enlightening human minds, Malebranche moved from a static "ontologist" view of idea-objects in God to an active "illuminationist" view whereby divine ideas cause(intellectual [End Page 84] and sensory) perception by modifying the soul.9 Once one accepts this view of the place and function of efficacious ideas in Malebranche's metaphysics, it seems natural to accept Jolley's declaration that the only way for the mind to apprehend ideas in God is if those ideas "act directly on the mind; [if] they thereby cause cognitive states to arise in a substance which is devoid of all genuine cognitive capacities of its own."10 Indeed, Jolley suggests that Malebranche ultimately made the soul passive in all its states, including its volitional ones.11In this paper, I argue that a strong interpretation of efficacious ideas, whereby they appear to become true causal agents, must be rejected precisely because it pushes us into an incorrect reading of Malebranche's theory of the divine and human faculties. Making ideas true causal agents within God privileges divine reason at the... (shrink)

Walter Benn Michaels's The Shape of the Signifier: 1967 to the End of History makes the ostensive cul-de-sac of identity politics the dominant symptom of postmodernism per se. The Shape connects its argument to the controversy over intention and interpretation created by Steven Knapp and Walter Benn Michaels's twenty-year-old essay "Against Theory." This very connection, however, highlights the not-quite-acknowledged presence of a certain type of romanticism in both works that each also wants to attack. Misunderstanding Paul de Man's notion of (...) materiality, Michaels becomes the latest thinker hoping to free us from the inchoateness of romantic sensation, both as the indulgence of sensory experience and the cognitive sloppiness of nonmeaning as the sense of meaning. Far from a Fukuyama-inspired postmodern condition, Michaels's scenario actually adumbrates a basic problem between romanticism and modernism-as-modernity. (shrink)

In this dissertation, I examine the origins and nature of Mach's philosophy, or rather theory, of science. I show how it relates to, and is informed by, his own works in physiology, psychophysics, physics, and the history and psychology of science. I argue that Mach's theory of science grew out of his concern to provide a single, unified--albeit coherent--perspective on both the life and physical sciences. Corresponding to this conceptual unification of perspectives in the different branches of knowledge, lies Mach's (...) belief in the unity of the so-called 'organic' and 'inorganic' worlds. I demonstrate how Mach grappled with these issues, tracing the evolutionary development of his thought, which vacillates between the two poles of the physical and the psychological, culminating in his neutral monism. My main findings, which differ from previous accounts of Mach, consist in the following: Mach can be considered as a precursor of Logical Positivism only in the sense that they both reject metaphysics, and believe that the world can be constructed out of simple entities. However, significant differences can be discerned between Mach and the Logical Positivists, viz.: Mach's emphasis on history and psychology--rather than logic--in understanding the nature of scientific knowledge, Mach is not a scientific realist, and he asserts the primacy of sensations over physical objects. Mach's notion of "philosophy", and hence of "philosophy of science", differs in character from contemporary mainstream philosophy of science which is based on analytic philosophy. For Mach, philosophy is not first philosophy and its function is not to provide justification or foundation for science. In this sense Mach anticipates the naturalization of epistemology and the philosophy of science. ;Finally, I show how his reaction towards atomism can be understood within this broader context of his attempt to provide a unified view of knowledge. I defend Mach's stand on atomism on the grounds that his objection is not so much against the development of the atomic theory, but against a realist construal of the atom and the mechanistic-reductionistic world-view implied by it. (shrink)