.In this paper, I address Descartes’ claims that sensory perceptions function to aid and preserve the subject in interacting with the world, and focus specifically on the ‘valence’, or agreeable/disagreeable quality, that characterizes many sensations. I show how Descartes considers this aspect of sensation to be a significant factor in the ecological role of sensory perception and I then turn to a kind of case that seems to pose a problem for this view: that of aesthetic pleasure. (...) I consider Descartes’ remarks on a particular kind of aesthetic pleasure – that found in musical consonance – and argue that his discussion of this phenomenon reveals that he distinguishes between two distinct kinds of valence – evaluative sensory valence and aesthetic valence – only one of which functions to report directly on ecological evaluation. Further, I suggest that the best way to understand the distinction between these is by appealing to Descartes’ three grades of sensory perception. (shrink)

The book illustrates how the human ability to adapt to the environment and interact with it can explain our linguistic representation of the world as constrained by our bodies and sensory perception. The different chapters discuss philosophical, scientific, and linguistic perspectives on embodiment and body perception, highlighting the core mechanisms humans employ to acquire knowledge of reality. These processes are based on sensory experience and interaction through communication.

My paper is divided into three parts. The first examines the different versions of phenomenology that Husserl used during the Freiburg period, including genetic phenomenology, which is considered, in Experience and Judgment, as the basis for his genealogy of logic. I also examine the doxa-episteme opposition, which is one of the central topics of this book, and I claim that Brentano's epistemic asymmetry between internal and external perception can be considered as a special case of this opposition, which Husserl (...) seeks to overcome. The second part consists in an account of the genesis of the concept of primary content, such as it was first introduced in his Habilitationsschrift in order to replace Brentano's notion of physical phenomenon, to Ideas I where Husserl seems to have abandoned this notion, and replaced it with that of hyle which he conceived in a way similar to that of traditional atomism. The third part shows that the lectures and the working manuscripts of the Freiburg period, including Experience and Judgment, dispel the impression left by Ideas I by providing an original analysis of the dimension of sensory experience. Our starting point is an analysis of the cases of misperception that serve as arguments against Brentano's theory of external perception and whose function here is to uncover several distinctions relating to the modes of consciousness which are directly related to primary contents and to the qualitative dimension of experience. I conclude on the subject of passive syntheses and argue that they refer to a multiplicity of relations that structure phenomenal experience. (shrink)

Our emotional states affect how we perceive the world. If I am stressed, annoyed, or irritated, I might experience the sound of children laughing and screaming as they play around the house in a negative manner — it is unpleasant, loud, piercing, and so on. Yet, if I’m in a relaxed, happy, loving mood, the very same sounds might be experienced as pleasant, playful, warm, and so on. The sounds being made by the children are the same in both cases, (...) but how they are experienced differs. The auditory experience is affected by the emotional state that I am in. I perceive the sounds differently depending on how I’m feeling. Although this might at first seem to be a trivial observation, it certainly is not. We take for granted that our perceptual experiences give rise to justified beliefs and knowledge. Thus, if my perceptual experience of an object can differ based on my emotional state, and I take my perceptual experience to justify my beliefs and even lead to knowledge, then we might have a problem. If emotions — which are not fixed and in large part uncontrolled — affect our ability to accurately perceive the world, then they may undermine the justified beliefs and knowledge gained on the basis of our perceptual experience of the world. My goal here is to explore this potential problem. -/- I consider how we might understand the effect that emotions have on the justification of our perceptual beliefs about the world, beliefs that we acquire from a variety of sensory modalities — audition, gustation olfaction, and so on. I take the problem to be associated with one of two forms of perceptual influence: penetration or multisensory integration. In any given perceptual moment there are multiple sensory modalities and mental states at play, each affecting the overall experience. Whether we understand the influence of emotion on perception as a form of non-perceptual penetration or a form of non-visual sensory perception of the inner body — interoception — the potential epistemological difficulties remain: how can we be said to acquire justified beliefs and knowledge on the basis of such influenced perceptual experience. As has been the norm, only the five exteroceptive senses of vision, audition, olfaction, taste and touch are typically discussed in the context of sensory perception. However, as I argue, there is strong reason to accept the claim that emotional experience is a form of interoception, and that interoception ought to be considered when discussing sensory perception. In this way, then, I propose that clarifying the role played by interoception in sense perception across modalities is necessary if we are to make progress on the epistemological problems at hand. (shrink)

Philosophical discussion about the reality of sensory perceptions has been hijacked by two tendencies. First, talk about perception has been largely centered on vision. Second, the realism question is traditionally approached by attaching objects or material structures to matching contents of sensory perceptions. These tendencies have resulted in an argumentative impasse between realists and anti-realists, discussing the reliability of means by which the supposed causal information transfer from object to perceiver takes place. Concerning the nature of (...) class='Hi'>sensory experiences and their capacity to provide access to reality, this article challenges the standard categories through which most arguments in this debate have been framed to date. Drawing on the underexplored case of olfaction, I first show how the details of the perception process determine the modalities of sensory experiences. I specifically examine the role of measurement and analyze its influence on the characterization of perceptions in olfaction. My aim is to argue for an understanding of perception through a process view, rather than one pertaining to objects and properties of objects. (shrink)

This article describes the conception of sensory perception during the early modern period. It discusses David Hume's Treatise of Human Nature where he contrasted the ancient metaphysics of substantial forms and occult qualities with the metaphysics of the Moderns. The article argues that Hume was fundamentally correct and that the doctrine of secondary qualities is indeed a distinctively modern doctrine that captures something of the very essence of the new philosophical age.

From 1979 to 1999, a heated dispute over the science or pseudoscience of extraordinary power or extrasensory perception took place in China. During these two decades, many so-called “grandmasters” of ESP and Qigong emerged, and millions of people across the country studied with them; this was known as “Qigong Fever” or “ESP Fever.” The supporters of ESP argued that ESP existed, people could cultivate ESP through specific Qigong training, and ESP was a science; whereas the opponents of ESP denied (...) all of these. Both sides of the dispute had many supporters. With the onset of Qigong Fever in China, some Qigong and ESP masters developed their Qigong organizations into Chinese-style religions. Qigong Fever ended when the religions were banned by the Chinese government. The rise of Qigong Fever demonstrated that basic questions about the boundaries between science and pseudoscience were not easy to answer. Different theoretical and practical consequences resulted from different answers to these questions. (shrink)

In Transcendence and Sensoriness , scholars of theology, philosophy, art, music, and architecture, discuss questions of transcendence, the human senses, and the arts through case studies considered in a broad theological framework of religious aesthetics of the arts.

아우구스티누스의 철학적 여정은 아카데미학파로 대표되는 고대의 회의주의에 대한 논박으로 시작하고 발전한다. 아카데미학파는 스토아주의가 자연적 영역에 대한 감관지각의 관계를 통해서 앎의 통일성을 소유했다고 주장하는 것에 문제를 제기하고, 이 통일성이 하나의 환영이라는 것을 입증하는 데 역량을 집중하여 다양한 논의를 양산했다. 아카데미학파는 감관지각의 불완전성을 논의함으로써 인간이 사물의 본성에 대한 앎을 가질 수 없다고 주장했다. 또한 이를 바탕으로 진리를 발견할 수는 없지만 진리를 추구할 수는 있다는 상대주의적 입장으로 나아간다. 아우구스티누스는 아카데미학파의 주장에 반박하고자 『콘트라 아카데미코스』를 중심으로 여러 저작에서 아카데미학파의 감관지각 이론에 대해 비판하면서 자신의 감관지각 (...) 이론을 정립한다. 아우구스티누스는 『콘트라 아카데미코스』에서 감관지각에 대한 아카데미학파의 회의적 질문, 즉“어떻게 이 세계가 존재한다는 것을 아는가. 만약 감관들이 오류를 범할 수 있다면?”, “만약 당신이 잠들어 있을 때에도 당신이 보는 것이 이 세계인가?”라는 명제를 소개한다. 그리고 이에 대해 아우구스티누스는 자기에게 외현하는 것은 그 자체로는 참이지만, 그것을 보이는 그대로 존재한다고 여겨 함부로 동의할 때에만 오류라고 답한다. 또한 그는 유사 세상이라는 사실이 곧 감관지각이 거짓이라는 사실을 입증해 주는 것은 아니며, 아무리 꿈속이라고 할지라도 그것을 인식하는 감관의 활동은 정상적일 수 있다는 논의를 편다. (shrink)

Malebranche holds that sensory experience represents the world from the body’s point of view. I argue that Malebranche gives a systematic analysis of this bodily perspective in terms of the claim that the five familiar external senses and bodily awareness represent nothing but relations to the body.

Here, I outline the idea of a unified hypothesis of sensory perception, developed from the theoretical vibrational mechanism of olfaction, which can be applied across all sensory modalities. I propose that all sensory perception is based upon the detection of mechanical forces at a cellular level, and the subsequent mechanotransduction of the signal via the nervous system. Thus, I argue that the sensory modalities found in the animal kingdom may all be viewed as being (...) mechanoreceptory, rather than being discrete neurophysiological systems which evolved independently of each other. I go on to argue that this idea could potentially explain language evolution, with birdsong being an example of a more simple form of non-Saussurean language that employs ‘frequency-mimicking’ to produce a vocal signal which describes acoustic, chemical and electromagnetic vibrational frequencies detected within in the environment. I also give examples of how this hypothesis could potentially explain phenomena such as vocal mimicry in animals, as well as the human perception of musicality and the occurrence of synaesthesia; a condition found in humans, where the stimulation of one sensory modality results in the stimulation of another. For example, auditory stimuli are detected and are heard as an acoustic signal, as well as being perceived as colour by the visual system. (shrink)

Sensory substitution devices provide through an unusual sensory modality (the substituting modality, e.g., audition) access to features of the world that are normally accessed through another sensory modality (the substituted modality, e.g., vision). In this article, we address the question of which sensory modality the acquired perception belongs to. We have recourse to the four traditional criteria that have been used to define sensory modalities: sensory organ, stimuli, properties, and qualitative experience (Grice, 1962), (...) to which we have added the criteria of behavioral equivalence (Morgan, 1977), dedication (Keeley, 2002), and sensorimotor equivalence (O’Regan & Noe¨, 2001). We discuss which of them are fulfilled by perception through sensory substitution devices and whether this favors the view that perception belongs to the substituting or to the substituted modality. Though the application of a number of criteria might be taken to point to the conclusion that perception with a sensory substitution device belongs to the substituted modality, we argue that the evidence leads to an alternative view on sensory substitution. According to this view, the experience after sensory substitution is a transformation, extension, or augmentation of our perceptual capacities, rather than being something equivalent or reducible to an already existing sensory modality. We develop this view by comparing sensory substitution devices to other ‘‘mind-enhancing tools’’ such as pen and paper, sketchpads, or calculators. An analysis of sensory substitution in terms of mind-enhancing tools unveils it as a thoroughly transforming perceptual experience and as giving rise to a novel form of perceptual interaction with the environment. (shrink)

This article, which seeks to connect philosophy, polite culture, and the Enlightenment, shows how Malebranche’s Cartesian science presented a full-frontal attack on the worldly notion of a good taste aligned with reason. It did this by arguing that the aesthetic tastes that people experience were the result of mechanically-transmitted sensations that, like all physical sensations, were inaccurate, erroneous and relativistic. The mechanics of this process is explored in detail to show how Malebranche was challenging honnête thinking. The article suggests that (...) Malebranche’s demystifying approach was at once a hallmark of the Enlightenment, and that his views would ironically come to inform much Enlightenment thought about taste in ways he would have despised. (shrink)

Pain is commonly explained in terms of the perceptual activity of a distinct sensory modality, the function of which is to enable us to perceive actual or potential damage to the body. However, the characterization of pain experience in terms of a distinct sensory modality with such content is problematic. I argue that pain is better explained as occupying a different role in relation to perception: to indicate when the stimuli that are sensed in perceiving anything by (...) means of a sensory modality exceed a significant level of intensity. Viewing the system underlying pain experience as an integral and functionally integrated feature of all the senses provides a new perspective on the diverse forms of pain, what it is like to experience pain and the contrasting natures of pain and pleasure. (shrink)

One key difference between perceptual experience and thought is the distinctly sensory way perception presents things to us. Some philosophers nevertheless suggest this sensory phenomenal character does not exhaust the way things are made manifest to us in perceptual experience. Edmund Husserl maintains that there is also a significant non‐sensory side to perception's phenomenal character. We may experience, for instance, an object's facing surface in a sensory mode and, as part of the same perceptual (...) experience, also that object's out‐of‐view surface in a non‐sensory mode. To the extent that perceptual experience makes things available to us in a non‐sensory mode, Husserl calls it inadequate. Here, I reconstruct four arguments for the conclusion that perceptual experience is inadequately found in various of Husserl's writings and critically evaluated them. My aim is both to showcase the variety and sophistication of Husserl's reasons for thinking perceptual experience is inadequate and to problematize that idea. (shrink)

In recent years, cognitive neuroscientists have began to explore the process of how sensory information gains access to awareness. To further probe this process, event-related functional magnetic resonance imaging was used while testing subjects with a paradigm known as the “attentional blink.” In this paradigm, visually presented information sporadically fails to reach awareness. It was found that the magnitude and time course of activation within the anterior cingulate , medial prefrontal cortex , and frontopolar cortex predicted whether or not (...) information was consciously perceived during the critical period for the attentional blink. These results are discussed in light of a neural framework for conscious processing. (shrink)

European Journal of Philosophy, Volume 30, Issue 2, Page 755-777, June 2022.

Perceptual experience strikes us as a presentation of the here and now. I argue that it also involves experience of the past. This claim is often made based on cases, like seeing stars, involving significant signal-transmission lag, or based on how working memory allows us to experience extended events. I argue that the past is injected into perceptual experience via a third way: long-term memory traces in sensory circuits. Memory, like the receptor-based senses, is an integrated and constituent modality (...) through which we experience the environment. Because of this modality, we experience the sensed properties of stimuli partly as they are now, but also partly as we encountered them in the past. (shrink)

Although sensorimotor contingencies may explain visual perception, it is difficult to extend this concept to speech perception. However, the basic concept of perception as active hypothesis testing using attention does extend well to speech perception. We propose that the concept of sensorimotor contingencies can be broadened to sensory-attentional contingencies, thereby accounting for speech perception as well as vision.

The existence of sensory convergence does not establish that the senses function as a single unified perceptual system. Reality is fully specified only by a one:many mapping onto the totality of energy arrays, and these provide alternative frames of reference for movement. It is therefore possible that higher order crossmodal relationships are detected by skilled perceivers, but this has not been confirmed empirically.

Steven Lehar allows too much to his direct realist opponent in using the word “subjective” of the sensory field per se. The latter retains its nonconceptual, nonmental nature even when explored by perceptual judgement. He also needs to stress the evolutionary value of perceptual differences between person and person, a move that enables one to undermine the direct realist's superstitious certainty about the singular object.