Introduction

Author(s):  
Casey O'Callaghan

This chapter presents the book’s thesis, its central themes, and its plan of attack. First, it describes the unisensory paradigms for investigating perception that until recently prevailed in science and in philosophy. Next, it introduces the critical respects in which perception is multisensory and explains why this is a problem for unisensory theorizing. Finally, it introduces the central questions any multisensory philosophy of perception must face, and it outlines the answers and arguments in the chapters that follow. The thesis to be defended is that coordination among the senses enhances the coherence and the reliability of human sense perception, extends its reach, and makes possible novel varieties of perceptual consciousness.

2020 ◽  
Vol 22 (1) ◽  
pp. 51-77
Author(s):  
Line Cecilie Engh

What does it mean to speak of God in a sensory language? Christian exegetes in the middle ages were steeped in a Biblical language of visions and voices, not to mention the anthropomorphic and sensual imagery of the Song of Songs. Although they had inherited early Christian theologians' distrust towards human sense perception, medieval preachers and theologians from the twelfth century onwards talked about divinity in metaphorical language that systematically evoked not just seeing and hearing, but also the senses of touch, taste, and smell. This article discusses the wildly imagistic, sensory, and sensual language of the Cistercian abbot Bernard of Clairvaux. Focusing on Bernard's sermon ‘On Conversion’ ( De conversione), given in Paris in 1140, I will interrogate the underlying theoretical assumptions in Bernard's rich rhetoric, and his emphasis on the senses. The central claim I make is that in these representations of the divine, embodied experience is both affirmed and negated at the same time. To bring out this point, I will consider why medieval Christian writers such as Bernard of Clairvaux and Peter the Venerable regarded Jewish and Muslim exegetes' ‘carnal’ hermeneutics—and the latter's use of sensual and sensuous imagery to convey conceptions of divine bliss—as radically different from their own approaches.


Author(s):  
Casey O'Callaghan

This book argues that human perception and perceptual consciousness are richly multisensory. Its thesis is that the coordinated use of multiple senses enhances and extends human perceptual capacities and consciousness in three critical ways. First, crossmodal perceptual illusions reveal hidden multisensory interactions that typically make the senses more coherent and reliable sources of evidence about the environment. Second, the joint use of multiple senses discloses more of the world, including novel features and qualities, making possible new forms of perceptual experience. Third, through crossmodal dependence, plasticity, and perceptual learning, each sense is reshaped by the influence of others, at a time and over time. The implication is that no sense—not even vision itself—can be understood entirely in isolation from the others. This undermines the prevailing approach to perception, which proceeds sense by sense, and sets the stage for a revisionist multisensory approach that illuminates the nature, scope, and character of sense perception.


2021 ◽  
Vol 3 (1) ◽  
pp. 1-26
Author(s):  
Oluwatoyin Vincent Adepoju

What is the value of Yoruba epistemology, theory of knowledge, particularly its philosophy of perception, to humanity in general, and to contemporary Nigeria, in particular? How does Yorùbá epistemology connect with educational theory and practice in Nigeria? This essay recognizes but goes beyond the more general overviews on classical Yoruba education and its contemporary significance represented in works of Yorùbá and Africanist scholars. I demonstrate the significance of Yoruba philosophy of education beyond its cultural context, by projecting its universal and timeless value, foregrounding its distinctive concepts in dialogue with ideas from other cultures. In its engagement with Nigerian educational dynamics, the essay concentrates, first, on Yoruba epistemology in its intersection with ethical and metaphysical perspectives from Yoruba thought. Second, the essay deploys the African art-centered investigations of the role of the senses in relating with art, understood as paradigmatic of navigating the world.


1988 ◽  
Vol 81 (3) ◽  
pp. 239-249 ◽  
Author(s):  
Robert J. Hauck

A curious parallel exists between two early Christian discussions of prophetic or divine knowledge. Both deal with the Christian problem of sense knowledge about the divine in a thought world dominated by Platonic thinking: how can Christians base their knowledge of the divine upon the reports of the apostles who claim to have seen God in a human shape? The first of these discussions arises from criticisms from outside; Celsus, the second-century Platonist critic of Christianity, calls the Christians a carnal race who say that God is corporeal and has a human form, and complains, “How are they to know God unless they lay hold of him by sense-perception?” (C. Cel. 7.27, 37). The second comes from within the Christian camp, and is to be found in the Clementine Homilies. In this rather enigmatic text Simon Magus, the arch-heretic, accuses Peter in his reliance upon his apostolic experience of “introducing God in a shape,” and opposes to apostolic sense knowledge his own visionary experiences (Hom. 17.3). The examination of these two texts demonstrates that in their common terms and the common shape of their arguments the issue of the knowledge of the apostles was common in Christian polemics. It was also a problem for philosophically minded Christians who would prefer to place the knowledge of God, even if historically mediated by Jesus, in the intelligible knowledge of the soul, rather than in the senses.


Author(s):  
Brian P. McLaughlin

We learn about the world through our five senses: by seeing, hearing, smelling, tasting and feeling. Sense perception is a primary means by which we acquire knowledge of contingent matters of fact. We can also acquire such knowledge by, for instance, conscious reasoning and through the written and spoken testimony of others; but knowledge so acquired is derivative, in that it must be based, ultimately, on knowledge arrived at in more primary ways, such as by sense perception. We can perceive something without acquiring any knowledge about it; for knowledge requires belief, and we can perceive something without having any beliefs about it. Viewing any but the most simple visual scenes we see many things we form no beliefs about. However, when we perceive something, we are acquainted with it by its sensorially appearing (looking, sounding, smelling and so on) some way to us. For we see something if and only if it looks some way to us, hear something if and only if it sounds some way to us, and so on. When, based on how they appear, we form true beliefs about things we perceive, the beliefs sometimes count as knowledge. Often the way something appears is the way it is. The red, round tomato looks red and round; the sour milk tastes sour. But the senses are fallible. Sometimes the way something appears is different from the way it is. Appearances can fail to match reality, as happens to various extents in cases of illusion. There are, for instance, optical illusions (straight sticks look bent at the water line) and psychological ones (despite being exactly the same length, the Müller-Lyer arrows drawings look different in length). In such cases, looks are misleading. The ever-present logical possibility of illusion makes beliefs acquired by perception fallible: there is no absolute guarantee that they are true. But that does not prevent them from sometimes counting as knowledge – albeit fallible knowledge. Recognitional abilities enable us to obtain knowledge about things from how they perceptually appear. Sense perception thus acquaints us with things in a way that contributes to positioning us to acquire knowledge about them. The central epistemic issues about sense perception concern its role in so positioning us.


2017 ◽  
Vol 41 (S1) ◽  
pp. s869-s869
Author(s):  
E.M.B. Lira ◽  
S.C. Vasconcelos ◽  
C.S.L.D. Piagge ◽  
S.O. Luna ◽  
V. Silva Nascimento ◽  
...  

IntroductionThe psychoactive substances consumption modifies the users’ sense-perception.ObjectivesDiscuss the therapeutic workshop as a stimulation strategy of the sense organs.MethodologyThe activities were developed at a Center of Psycho-Social Attention for alcohol and other drugs – CPSAad, located in north-eastern Brazil. The therapeutic workshop was divided into six sessions; being worked a sense organ in each meeting. Initially, the sessions were explained and they entered the room in silence. At first, vision and lastly, taste. The taste dynamic session was initiated by the pool where users experienced different flavours and made distinctions between them, including a food without flavour, experiencing feelings of pleasure and displeasure. This dynamic was finalized in the institute's kitchen with different ice cream flavours. The participants freely served themselves, being led to reflections on their choices of pleasure. The sixth session was constituted by listening about all Therapy Workshop Experience of the Senses, on which participants reported emotions and feelings experienced during the sessions, such as: fear, anxiety, craving, denial, pleasure and displeasure.ResultsIt was identified a universe of sensations that can be translated into a sense-perception reframing about themselves and their surroundings.ConclusionThe participants presented a sensory dullness, relating the experienced stimuli to the consumption of psychoactive substances, demonstrating a strong equivalence between the proposed activity and substance dependence. This activity enabled an interdisciplinary approach, through knowledge and interventions exchange.Disclosure of interestThe authors have not supplied their declaration of competing interest.


Author(s):  
Susanne Ø. Sæther

Through the conceptual framework of the haptic, this essay charts a striking motif in much recent video art: the co-presence of a hand touching the screen and a distinctly layered spatiality. Critically deploying various notions of the haptic culled from film and media theory and perceptual psychology, Sæther discusses Trisha Baga’s low-tech 3D video Flatlands (2010) and Victoria Fu’s immersive video installation Belle Captive I (2012) and expounds a contemporary haptic space that verges between planarity and volume, between the near and far, and that exceeds the frame to enfold us. As Sæther argues, the salience of this motif points to the split between human sense perception and the networked, computational operations of 21st-century media, and the attempt to grasp this split.


2019 ◽  
Author(s):  
Rochelle Forrester

This paper investigates the nature of reality by looking at the philosophical debate between realism and idealism and at scientific investigations in quantum physics and at recent studies of animal senses, neurology and cognitive psychology. The concept of perceptual relativity is examined and this involves looking at sense perception in other animals and various examples of perceptual relativity in science. It will be concluded that the universe is observer dependent and that there is no reality independent of the observer, which is knowable to the observer. The paper concludes by an investigation of what an observer dependent universe would be like and that recognition of an observer dependent world would lead to a more open minded and tolerant world.


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