Perception, epistemic issues in

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.

1995 ◽  
Vol 45 (1) ◽  
pp. 253-256
Author(s):  
Michael Dyson

This passage occurs in a series of examples of optical illusions which Lucretius provides in order to illustrate the way in which the mind can misinterpret the evidence of the senses. There are no manuscript variations relevant to the problem which I wish to discuss.The situation envisaged is that in fording a swift river, a horse has come to a halt in mid-stream. ‘We’, that is, the rider, look down into the rushing water and get the impression that our horse is moving sideways and upstream, although the horse is in fact stationary. And wherever we turn our eyes across the water, everything seems to be in motion. The question is, what is meant by the word ‘everything’, that is, omnia in line 424? Bailey interprets: ‘when after looking down for some time at the rushing stream, we then look up at the objects on the bank, they all seem to be moving.! Similarly Leonard and Smith take the reference to be to’ all objects on the bank or all stones, etc., sticking out of the stream.’ In this case the words ‘assimili nobis ratione’ must be taken closely together: the objects on the bank seem to be moving upstream in the same way that we ourselves appear to do.


Author(s):  
Natalya Sakhno

People interact with the world around them, learn about it, have the opportunity to feel pleasure, pain or disappointment with the help of the senses. Previously it was believed that a person has only five senses: hearing, touch, vision, smell and taste. Then, people usually say «he has sixth sense» about those with intuition. And now at the present stage, scientists recognize the presence of more than 20 senses in a person. For example, a person is able to feel changes in the temperature of surrounding objects and air, to analyze the degree of limb flexion, to feel the empty stomach or fullness of the bladder. Thus, there can be pain, vibration, gravitation, visceral sensitivity, and so on. Many feelings have already been well studied, but there are those that no one knows about. Therefore, scientists continue to work on the study of human feelings, sensitivity and their properties.


2002 ◽  
Vol 64 (1) ◽  
pp. 57-79 ◽  
Author(s):  
David D. Corey

The article examines Voegelin's understanding of nous as the ground for theorizing, and relates this back to Aristotle. Aristotle is shown to have understood the activities of nous in two distinct ways. On the one hand, nous is the divine activity of the soul exploring its own ground. But nous is also induction (epagôgê) of the first principles of science through sense perception, memory and experience. The two basic activities of nous are related, but they have different values when it comes to the world of particulars. The argument is that a substantive ethical and political science—one that sheds light on particulars—must include the inductive employment of nous and that the exclusion of this from Voegelin's political science results in some discernible limitations.The limitations of Eric Voegelin—s work are sometimes difficult to keep in view, particularly while he is expounding upon the totality of Being, the myriad dimensions of human consciousness, and the nature of order in personal, social, and historical existence. But in fact Voegelin's work is more limited than his magisterial tone might suggest. The argument of this article is that while Voegelin offers his readers profoundly important insights into the structure of human consciousness and into what Aristotle called first philosophy, the study of being qua being, he does not offer his readers much in the way of a substantive ethical or political science.


Author(s):  
Colin Chamberlain

Malebranche holds that sensory experience represents the world from the body’s point of view. The chapter argues that Malebranche gives a systematic analysis of this bodily perspective in terms of the claim that the five external senses and bodily awareness represent nothing but relations to the body. The external senses represent relations between external objects and the perceiver’s body. Bodily awareness represents relations between parts of the perceiver’s body and her body as a whole, and the way she is related to her body. The senses thus represent the perceiver’s body as standing in two very different sets of relations. The external senses relate the body to a world of external objects, while bodily awareness relates this same body to the perceiver herself. The perceiver’s body, for Malebranche, is the center of the system of relations that make up her sensory world, bridging the gap between self and external objects.


2021 ◽  
pp. 113-124
Author(s):  
Nataliya P. Malyutina ◽  

The purpose of the paper is to analyze how the thematization of the perception of the world is implemented in the plays by A. Stroganov: ‘Halo,’ ‘Halo and the Night,’ ‘The Greatness of the Swing,’ ‘Black, White, Accents of the Red, Orange. Control Prints in two acts.’ The analysis of poetics proves that the visualization of metaphors creates the effect of optical illusions, resulting in the action acquiring a symbolic-magical character. The metatheatrical way of multiplying action plans (conditional-substantial and projective-illusory) allows presenting the technique of switching one’s attention to the imaginary elements. Visual projections of parareal events objectify the ability of the characters (and consequently readers/viewers) to see and perceive their inner world. A conclusion is made that in the plays under study, the integrity of the dramatic action is lost, whereas voices, gestures, images-paths, and photographs are constantly pulsating in the poetics of the text, with their ability to visualize the world vision image embodying the performative potential of action. The way to complete the integrity is the reader / viewer’s preexisting representations and interactive participation in the creation of textual projections of image-metaphors. Such absolutization of a single dramatic technique leads to a multidimensional artistic reading of A. Stroganov’s plays in the context of his theory of pararealism.


2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Tatiana Prevedello

RESUMO Em Os dias contados (1990), primeiro livro de poesias publicado por José Tolentino Mendonça, o autor revisita as mais expressivas vertentes clássicas, no âmbito da história, teologia, filosofia e literatura e desenvolve, em seus versos, uma visão de unidade entre o ser e o cosmos. Embora o título esteja a sugerir a possibilidade de mensurar o tempo, a forma como o mesmo é apresentado na expressão lírica revela que a temporalidade não é apreendida pelos mecanismos convencionais que pautam a sua extensão e durabilidade. A perspectiva da eternidade está na maneira como o trabalho lírico mostra um vínculo profundo com a palavra divina, de modo que o intertexto bíblico é constante. O tempo, assim, é captado pelos sentidos que interceptam a sua expressão. No discurso lírico do autor, cuja percepção da eternidade está no ato da criação – do mundo, do sujeito, do poema – compreendido pelo viés genesíaco, as modulações de sua voz pressupõem a imensurabilidade temporal. Nesse âmbito, pretendemos identificar os recursos que engendram a hermenêutica poética de Tolentino Mendonça, direcionados à apreensão do tempo em sua (in)contabilidade. PALAVRAS-CHAVE: Poesia; Filosofia; Hermenêutica; Tempo; Eternidade. ABSTRACT In Os dias contados (1990), first book of poetry published by José Tolentino Mendonça, the author revisits the most expressive classical sources, in the context of history, theology, philosophy and literature, and develops, in his verses, a vision of unity between being and the cosmos. Although the title suggests the possibility of measuring time, the way it is presented in the lyric expression reveals that temporality is not apprehended by conventional mechanisms that define its extension and durability. The perspective of eternity is in the way that the lyrical work shows a deep bond with the Divine word, so that the biblical intertext is constant. Time is captured by the senses that intercept its expression. In the lyrical discourse of the author, the perception of eternity is in the act of creation, including the world, subject and the poem, understood by the interpretation of The Book of Genesis, the modulations of his voice presuppose the temporal immensurability. In this context, we intend to identify the resources that engender the poetic hermeneutics of Tolentino Mendonça, directed to the apprehension of time which cannot be counted. KEYWORDS: Poetry; Philosophy; Hermeneutics; Time; Eternity.


Author(s):  
Nicholas Reid

AbstractOne of the common mysteries of art, and a barrier to our understanding of Coleridge's claim that natural form lies at the heart of knowledge, is the problem of how it is that art can embody meaning in its sensuous forms—for instance, in visual, tactile or auditory "images." To our common way of thinking, this seems mysterious, for we usually think of thinking as something which is propositional and linguistic, or (though less popular these days) as being in some sense "pure" and above both the senses and language. But while propositional thinking is certainly a dimension of our mental experience, we should not let it blind us to the more fundamental ways in which we perceive and understand the world through the senses. Thus we should not think of syllogistic argument as the paradigm for thought, as the Anglo-American philosophical world has tended to, nor should we think of thought as paradigmatically linguistic in the way the literary theory of the last thirty years has suggested. Rather, we should find that paradigm in those moments when we arelookingat the world (looking out of the window at a tree, for instance). Concrete sensuous form, or image, I shall argue, provides a more fundamental paradigm for thought—a paradigm which art brings to the fore, and which is also fundamentally Coleridgean.


2017 ◽  
Vol 225 (4) ◽  
pp. 324-335 ◽  
Author(s):  
Dimitrios Barkas ◽  
Xenia Chryssochoou

Abstract. This research took place just after the end of the protests following the killing of a 16-year-old boy by a policeman in Greece in December 2008. Participants (N = 224) were 16-year-olds in different schools in Attiki. Informed by the Politicized Collective Identity Model ( Simon & Klandermans, 2001 ), a questionnaire measuring grievances, adversarial attributions, emotions, vulnerability, identifications with students and activists, and questions about justice and Greek society in the future, as well as about youngsters’ participation in different actions, was completed. Four profiles of the participants emerged from a cluster analysis using representations of the conflict, emotions, and identifications with activists and students. These profiles differed on beliefs about the future of Greece, participants’ economic vulnerability, and forms of participation. Importantly, the clusters corresponded to students from schools of different socioeconomic areas. The results indicate that the way young people interpret the events and the context, their levels of identification, and the way they represent society are important factors of their political socialization that impacts on their forms of participation. Political socialization seems to be related to youngsters’ position in society which probably constitutes an important anchoring point of their interpretation of the world.


2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.


The Eye ◽  
2019 ◽  
Vol 21 (128) ◽  
pp. 19-22
Author(s):  
Gregory DeNaeyer

The world-wide use of scleral contact lenses has dramatically increased over the past 10 year and has changed the way that we manage patients with corneal irregularity. Successfully fitting them can be challenging especially for eyes that have significant asymmetries of the cornea or sclera. The future of scleral lens fitting is utilizing corneo-scleral topography to accurately measure the anterior ocular surface and then using software to design lenses that identically match the scleral surface and evenly vault the cornea. This process allows the practitioner to efficiently fit a customized scleral lens that successfully provides the patient with comfortable wear and improved vision.


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