Both Immanuel Kant and Paul Guyer have raised important concerns about the limitations of Lockean thought. Following Guyer, I will focus my attention on questions about the proper ambitions and likely achievements of inquiry into the natural/physical world. I will argue that there are at least two important respects, not discussed by Guyer, in which Locke’s account of natural philosophy is much more flexible and accommodating than may be immediately apparent. On my interpretation, however, one crucial source of a too-limited (...) vision of natural philosophy remains in Locke, where he is appropriately criticized by both Kant and Guyer. My method will be to begin with a distinction that Locke draws in the very first draft of the Essay, between what he calls “the sensible object” and, on the other hand, “the uncertain philosophical cause.” I believe that Locke’s notion of “sensible object,” as opposed to uncertain philosophical cause, retains a central place in his thought in the published Essay, despite the fact thateven though this contrast is never made explicitly there. Tracing the evolution of these two concepts in his thought will allow us to track and better understand his developing views about the relation between the project of the. (shrink)

Both Immanuel Kant and Paul Guyer have raised important concerns about the limitations of Lockean thought. Following Guyer, I will focus my attention on questions about the proper ambitions and likely achievements of inquiry into the natural/physical world. I will argue that there are at least two important respects, not discussed by Guyer, in which Locke’s account of natural philosophy is much more flexible and accommodating than may be immediately apparent. On my interpretation, however, one crucial source of a too-limited (...) vision of natural philosophy remains in Locke, where he is appropriately criticized by both Kant and Guyer. My method will be to begin with a distinction that Locke draws in the very first draft of the Essay, between what he calls “the sensible object” and, on the other hand, “the uncertain philosophical cause.” I believe that Locke’s notion of “sensible object,” as opposed to uncertain philosophical cause, retains a central place in his thought in the published Essay, despite the fact thateven though this contrast is never made explicitly there. Tracing the evolution of these two concepts in his thought will allow us to track and better understand his developing views about the relation between the project of the. (shrink)

Plotinus describes sensible objects as conglomerations of qualities and matter. However, none of these ingredients seems capable of accounting for the structure underlying the formation of each sensible object so as to constitute an identifiable and discrete entity. This is the effect of the logos, the organizing formative principle inherent in each object, which determines how its qualitative constituents are brought together to form a coherent unity. How the logos operates differs in various kinds of entities, (...) such as living organisms, artefacts and inanimate objects; however, some basic characteristics render its contribution to reality both coherent and rationally accessible. It further indicates how the various constituents of the sensible universe combine so as to form a unified cosmos. (shrink)

There is little agreement about Aristotle’s philosophy of geometry, partly due to the textual evidence and partly part to disagreement over what constitutes a plausible view. I keep separate the questions ‘What is Aristotle’s philosophy of geometry?’ and ‘Is Aristotle right?’, and consider the textual evidence in the context of Greek geometrical practice, and show that, for Aristotle, plane geometry is about properties of certain sensible objects—specifically, dimensional continuity—and certain properties possessed by actual and potential compass-and-straightedge drawings qua quantitative (...) and continuous. For their part, the objects of stereometry are potential sensible three-dimensional figures qua quantitative and continuous. (shrink)

Stephen Darwall, Allan Gibbard, and Peter Railton formulate two objections to moral sensibility theories in their overview of twentieth-century moral theory, “Toward Fin de siècle Ethics: Some Trends.” Instead of using the work of sensibility theorists John McDowell and David Wiggins to address these objections, I turn to H. A. Prichard and P. F. Strawson. The reason for doing so is that the objections misunderstand the importance of the idea of the autonomy of the moral domain. Prichard and Strawson have (...) provided important defenses of this idea that are independent of moral sensibility theories. Hence their work provides independent grounds for answering the two objections. Particularly important is the loosely a posteriori way they make their arguments. (shrink)

McDowell does not succeed in his effort toward accounting for the wonder of nature that the experiential presence of environmental objects is, owing to his exclusive attention to the conceptual capacities involved. Thus, he construes immediate sensible representations to be involuntary actualizations of conceptual capacities exercised in judging and speech. Only in possessing propositional contents to the effect of being caused to occur by their respective objects, are immediate sensible representations proposed to differ from thoughts evoked by their (...) objects, and claimed to be phenomenologically colored. Implying the actualization of a perceptual capacity distinct from the conceptual capacities about which he explicitly speaks, McDowell attempts to compensate for his self-limited conceptual resources by asking us to imagine how the subject directs firsthand the mental counterpart of there to the immediate environment. Insisting that, intrinsically, an immediate sensible representation is a relation to its object, McDowell seeks to capture thereby the object's experiential presence sans having to enrich his conception of perceptual awarenesses beyond the fact of their having certain conceptual contents. However, repeatedly, the immediate sensible representations are declared to be conceptual shapings of sensory consciousness. This characterization of them amounts only to a reassuring slogan at this point. Indeed, the sensory consciousness that is purported to be shaped is not even identified. But, if, along with this characterization, there comes a recognition that immediate sensible representations are, on every occasion of their occurrence, actualizations of both conceptual and perceptual capacities, we may have a key to how to explain experiential presence. (shrink)

A sensible quality is a perceptible property, a property that physical objects (or events) perceptually appear to have. Thus smells, tastes, colors and shapes are sensible qualities. An egg, for example, may smell rotten, taste sour, and look cream and round.1,2 The sensible qualities are not a miscellanous jumble—they form complex structures. Crimson, magenta, and chartreuse are not merely three different shades of color: the first two are more similar than either is to the third. Familiar color (...) spaces or color solids capture, to a greater or lesser extent, these relations between the colors. The same goes for sensible qualities perceived in other modalities: middle C, high C, and D are not merely three different notes, and the taste of lemons, oranges, and sugar cubes are not merely three different tastes. How can this structure of appearance be explained? One idea is that sensible qualities are of two sorts: basic and derived. The basic sensible qualities are the building blocks from which the derived sensible qualities can be.. (shrink)

Aristotle explicitly speaks of intelligible matter in three passages only, all from theMetaphysics, in the context of the analysis of definition as the formula that expresses the essence:Metaph.Z10, 1036 a8-11;Metaph.Z11, 1037 a5;Metaph.H6, 1045 a34-36 and 45 b1. In the case of the occurrences of Z10 and Z11, there is almost unanimous consensus that Aristotle uses the expression in a technical way, to indicate the matter of that particular type of objects that are intelligible compounds, of which mathematical objects are paradigmatic (...) instances. By contrast, there is no agreement on how to understand the expression in the case of H6. Here, ‘intelligible matter’ would denote, as stated by some interpreters, the generic element of the definition. The aim of this paper is to show that ὕλη νοητή has the same technical meaning in all the three explicit occurrences in theMetaphisics. Contrary to the interpretation that there is a shift in meaning from Z10-11 to H6, my goal is to illustrate that in both contexts, Aristotle uses the expression ‘intelligible matter’ to designate the matter of mathematical objects insofar as they are paradigmatic intelligible compounds. (shrink)

Can sensibility, as our capacity to be sensibly presented with objects, be understood independently of the understanding, as the capacity to form judgments about those objects? It is a truism that for judgments to be empirical knowledge they must agree with what sensibility presents. Moreover, it is a familiar thought that objectivity involves absolute independence from intellectual acts. The author argues that together these thoughts motivate a common reading of Kant on which operations of sensibility are conceived as intelligible independently (...) of acts of the understanding, so that their supposed objectivity can validate judgments as empirical knowledge. He contends that there are two reasons why this epistemic compositionalism is implausible both as a reading of Kant and in itself. First, read compositionally, Kant’s Transcendental Deduction is unable to fulfill its stated aim of showing that the categories are objectively valid, that is, exemplified by the objects that sensibility presents. Second, Kant sees that sensibility by itself cannot be understood to even purport to present objects, thus undermining the very intelligibility of compositionalism. The author argues that, given these challenges, Kant’s Deduction develops an alternative account, on which operations of sensibility and acts of the understanding can be understood only together. He contends that this epistemic hylomorphism transforms the familiar thought underlying compositionalism: objectivity simultaneously involves formal agreement with intellectual acts in general and material independence from any specific such act. He thus shows how Kant reconceives our conception of objectivity by overcoming compositionalism in favor of hylomorphism. (shrink)

This chapter explores the debate between contemporary projectivists or expressivists, and the advocates of sensibility theory. Both positions are best viewed as forms of sentimentalism — the theory that evaluative concepts must be explicated by appeal to the sentiments. It argues that the sophisticated interpretation of such notions as “true” and “objective” that are offered by defenders of these competing views ultimately undermines the significance of their meta-ethical disputes over “cognitivism” and “realism” about value. Their fundamental disagreement lies in moral (...) psychology; it concerns how best to understand the emotions to which sentimentalist theories must appeal. (shrink)

The main aim of this paper is to work toward an account of how sensibility and understanding combine in perceptual judgments, with the emphasis on the role of sensibility in both the justification of such judgments and the explanation of how it is possible for them to apply to an objective world. I argue that in themselves sensory intuitions function as (animal level) beliefs about the environment, and that these beliefs have the status of perceptual judgments to the extent to (...) which they are embedded in and engaged with the high-level patterns of consciousness and reasoning characteristic of full-blown human judgment. In terms of this account, sensibility is seamlessly integrated with understanding in perceptual judgments. This does not, however, imply that its contribution to perceptual judgments cannot be separated analytically, for in my terms the basic justification and objective reference of perceptual judgments are directly inherited from the sensory intuitions (functioning as sensory beliefs) which constitute those judgments. I conclude by showing how this account can be used to undermine John McDowell’s claim that any attempt to assign a separable contribution to sensibility cannot avoid the Myth of the Given. (shrink)

I develop a view of perception that does justice to Price's intuition that all sensory experience acquaints us with sensible qualities like colour and shape. Contrary to the received opinion, I argue that we can respect this intuition while insisting that ordinary perception puts us in direct contact with the mind-independent world. In other words, Price's intuition is compatible with naïve realism. Both hallucinations and ordinary perceptions acquaint us with instances of the same kinds of sensible qualities. While (...) the instances in hallucination are mind-dependent, those in veridical perception are not. The latter are ontologically over-determined —they have their existence guaranteed both in virtue of having a material bearer and in virtue of being perceived by a mind. Such over-determined instances are mind-independent—they can continue to exist unperceived, because, in addition to the minds that perceive them, their existence is guaranteed by the material objects that are their bearers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and (...) in the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (shrink)

_Sensibility in the Early Modern Era_ investigates how the early modern characterisation of sensibility as a natural property of the body could give way to complex considerations about the importance of affect in morality. What underlies this understanding of sensibility is the attempt to fuse Lockean sensationism with Scottish sentimentalism – being able to have experiences of objects in the world is here seen as being grounded in the same principle that also enables us to feel moral sentiments. Moral and (...) epistemic ways of relating to the world thus blend into one another, as both can be traced to the same capacity that enables us to affectively respond to stimuli that impinge on our perceptual apparatus. This collection focuses on these connections by offering reflections on the role of sensibility in the early modern attempt to think of the human being as a special kind of sensitive machine and affectively responsive animal. Humans, as they are understood in this context, relate to themselves by sensing themselves and perpetually refining their intellectual and moral capacities in response to the way the world affects them. Responding to the world here refers to the manner in which both natural _and_ man-made influences impact on our ability to conceptualise the animate and inanimate world, and our place within that world. This book was originally published as a special issue of the _Intellectual History Review. _. (shrink)

The importance of Levinas’ notions of sensibility and subjectivity are evident in the revision of phenomenological method by current phenomenologists such as Jean-Luc Marion and Michel Henry. The criticisms of key tenants of classical phenomenology, intentionality and reduction, are of a particular note. However, there are problems with Levinas’ characterization of subjectivity as essentially sensible. In “Totality and Infinity” and “Otherwise than Being”, Levinas criticizes and recasts a traditional notion of subjectivity, particularly the notion of the subject as the (...) first and foremost rational subject. The subject in Levinas’ works is characterized more by its sensibility and affectedness than by its capacity to reason or affect its world. Levinas ties rationality to economy and suggests an alternative notion of reason that leads to his analysis of the ethical relation as the face-to-face encounter. The ‘origin’ of the social relation is located not in our capacity to know but rather in a sensibility that is diametrically opposed to the reason understood as economy. I argue that the opposition in Levinas’ thought between reason and sensibility is problematic and essentially leads to a self-conflicted subject. In fact, it would seem that violence characterizes the subject’s self-relation and, thus, is also inscribed at the base of the social relation. Rather than overcoming a problematic tendency to dualistic thought in philosophy Levinas merely reverses traditional hierarchies of reason/emotion, subject/object and self/other. (shrink)

The paper considers T.S. Eliot's 'dissociation of sensibility' thesis, considering its philosophical value and attempting to defend it against published objections. While accepting some of the criticisms, it is argued that Eliot's argument is sound to a significant extent. Eliot's account retains explanatory power with regard to an enduring arts-science divide in schooling and, more broadly, in environmental ethics. In both these areas, educators can, and should, find greater synergies between arts and science, and theoria and praxis, despite continuing pressures (...) on the school curriculum to move in the opposite direction. It is suggested that an acknowledgement of living as semiosis can be helpful in this respect. (shrink)

This chapter introduces and motivates the Null View about standard causally matching hallucinations. The Null View holds that these hallucinations fail to present any objects or sensible qualities, despite being dead ringers for perceptions of ordinary objects and their qualities. Motivation for the Null View comes from a neglected observation about perception-based thought, namely that perception can permit perception-based thought about a sensible quality even while misleading a subject about that quality. The chapter's other contribution is defensive. Most (...) reject the Null View on phenomenological or epistemic grounds. These objections to the Null View are sharpened and then undermined. (shrink)

This paper examines the current scholarship on Mengzi’s metaethical thoughts and reconstructs Mengzi’s view to contribute to our understanding of the relation between sensibility and the apparent o...

In Furnishing the mind, I argued that concepts are couched in representational formats that are indigenous to sensory systems. I called this thesis "concept empiricism," because I think it is was a central tenet of the philosophical program defended by classical British empiricists, such as Locke and Hume. I still think that concept empiricism is true, and more empirical evidence has accrued since the book went to press. That's the good news. The bad news is that able critics have marshaled (...) a variety of powerful arguments against empiricism. Sarnecki and Markman and Stilwell have devised a battery of challenging objections. Their commentaries are charitable and incisive. They represent my proposals accurately, and they raise serious worries. I cannot do justice to everything they say in this response, but I will try to indicate where I would make concessions and where I would dig in my heels. I will begin with a few introductory remarks to motivate empiricism, and then address objections. (shrink)

In this paper, I intend to show that it’s a serious mistake to construe the role of sensible representation in Kant’s work as a nonconceptual content (in the contemporary and technical sense of “content”), which, like a mental indexical would refer to what appears in space and time in the so-called de re form. The interpretation I advance and further support is this: without possessing a representational content, sensible representation must be understood as the basic epistemic relation between (...) the subject and the physical entities in space and time she is acquainted with. Immediate reference of sensible intuition to their respective objects is to be understood as a form of knowledge by acquaintance. I call my own interpretation relationalism. (shrink)

This essay traces the evolution of the pragmatist elements in Wiggins's distinctive view of truth and shows its connections to the founder of pragmatism, C.S. Peirce and one of Peirce's greatest successors, F.P. Ramsey. Wiggin's pragmatism, like that of Peirce and Ramsey, is a pragmatism that attempts to arrive at what Wiggins calls ‘a sensible subjectivism’ – an account of truth that respects both the human inventiveness and the objectivity that are each a part of our search for the (...) truth. (shrink)

There is a straightforward view of perception that has not received adequate consideration because it requires us to rethink basic assumptions about the objects of perception. In this paper, I develop a novel account of these objects—the sensible qualities—which makes room for the straightforward view. I defend two primary claims. First, I argue that qualities like color and shape are “ontologically flexible” kinds. That is, their real definitions allow for both physical objects and mental entities to be colored or (...) shaped. Second, a single instance of these qualities can be attributed to more than one entity. Just as we attribute the same instance of a material property to a statue and to the clay that constitutes it, single instances of sensible qualities should be attributed both to the physical objects perceived and to the perceptual states that have those instances as their objects. (shrink)

This paper is a reply to Simon Blackburn's 'Is Objective Moral Justification Possible on a Quasi-realist Foundation?' Inquiry 42, pp. 213-28. Blackburn attempts to show how his version of non-cognitivism - quasi-realist projectivism - can evade the threat of ethical relativism, the thought that all ways of living are as ethically good as each other and every ethical judgment is as ethically true as any other. He further attempts to show that his position is superior in this respect to, amongst (...) other accounts, sensibility theory. According to Blackburn, sensibility theory succumbs easily to the relativistic challenge because it depends on some 'substantive' notion of truth. It is agreed with Blackburn that the threat of relativism is less of a threat to him than at first appears, although I think that it retains some menace, but not agreed that sensibility theorists cannot also counter the threat of relativism. The point is that the threat of ethical relativism depends less on truth than Blackburn supposes. Thus sensibility theorists can counter ethical relativism in much the same way that quasi-realist projectivists can. (shrink)

This paper contrasts three different schemes of reference relevant to understanding systems of perceptual representation: a location-based system dubbed "feature-placing", a system of "visual indices" referring to things called "proto-objects", and the full sortal-based individuation allowed by a natural language. The first three sections summarize some of the key arguments (in Clark, 2000) to the effect that the early, parallel, and pre-attentive registration of sensory features itself constitutes a simple system of nonconceptual mental representation. In particular, feature integration--perceiving something as (...) being both F and G, where F and G are sensible properties registered in distinct parallel streams--requires a referential apparatus. Section V. reviews some grounds for thinking that at these earliest levels this apparatus is location-based: that it has a direct and nonconceptual means of picking out places. Feature-placing is contrasted with a somewhat more sophisticated system that can identify and track four or five "perceptual objects" or "proto-objects", independently of their location, for as long as they remain perceptible. Such a system is found in Zenon Pylyshyn's fascinating work on "visual indices", in Dana Ballard's notion of deictic codes, and in Kahneman, Treisman, and Wolfe's accounts of systems of evanescent representations they call "object files". Perceptual representation is a layered affair, and I argue that it probably includes both feature-placing and proto-objects. Finally, both nonconceptual systems are contrasted with the full-blooded individuation allowed in a natural language. (shrink)

This paper seeks to address the question of schooling for democracy by, first, identifying at least one form of social character, dependent, after Marcuse, on the historical emergence of a “new sensibility.” It then explores one pedagogical thread related to the emergence of this form of subjectivity over the course of the last two centuries in the west, and traces its influence in the educational counter-tradition associated with philosophical anarchism, which is based on principles of dialogue and social reconstruction as (...) opposed to monologue and reproduction. The idea of a dialogical school has been made possible by a historical shift in adult views of child as interlocutor rather than “othered” object of adult formation—a shift that can be observed in an historical process of “closer approaches” between adult and child and a recognition of childhood and adulthood as forms of subjectivity that lie on a synchronous rather than a diachronic lifespan continuum. Finally the author identifies an archetype of “school” understood as a specific type of intentional community—an experimental zone in which participants are allowed and encouraged, through explicitly dialogical practice, to develop the personal and relational habits that make authentic democracy possible—a communal form that gives practical meaning to Dewey’s notion of school as “embryonic society”: a utopian space where natality is recognized as a fundamental cultural force, and where the evolutionary possibilities inherent in neoteny are taken as normative. (shrink)

This chapter explores the debate between contemporary projectivists or expressivists, and the advocates of sensibility theory. Both positions are best viewed as forms of sentimentalism — the theory that evaluative concepts must be explicated by appeal to the sentiments. It argues that the sophisticated interpretation of such notions as “true” and “objective” that are offered by defenders of these competing views ultimately undermines the significance of their meta-ethical disputes over “cognitivism” and “realism” about value. Their fundamental disagreement lies in moral (...) psychology; it concerns how best to understand the emotions to which sentimentalist theories must appeal. (shrink)

Sensibility theory claims that, for any object x, x is good/right if and only if x is such as to make a certain sentiment appropriate. A realist position, sensibility theory claims conceptual and explanatory advantages over alternative metaethical theories. Sensibility theory, while revealing, presents a problem of its own: its central thesis involves an explanatory circularity. Here, a Mencius-Hume solution to that problem is offered.

Through a close reading of Plutarch’s Against Colotes 3-9, the paper reconstructs and interprets the original Epicurean criticism against Democritean epistemology and ontology, and in particular against Democritus’ theory of sensible qualities, and Plutarch’s twofold criticism of Epicurean epistemology, on similar grounds, and of the questionable exegetical and argumentative manoeuvres used by the Epicurean Colotes. In the process of interpreting Plutarch’s text, the paper reflects on the nature, motivation and plausibility of Plutarch’s own exegetical and argumentative strategies. Finally, the (...) paper suggests that a careful reading of Against Colotes will help us to put into focus the important question of whether, independently of their apparently opposite claims about the “reality” of secondary qualities, Democritus and Epicurus shared either a form of radical relativism or a form of commonsense “intersubjectivism” in their evaluations of ascriptions of such qualities to macroscopic objects. (shrink)

The proper sensible criterion of sensory individuation holds that senses are individuated by the special kind of sensibles on which they exclusively bear about (colors for sight, sounds for hearing, etc.). H. P. Grice objected to the proper sensibles criterion that it cannot account for the phenomenal difference between feeling and seeing shapes or other common sensibles. That paper advances a novel answer to Grice's objection. Admittedly, the upholder of the proper sensible criterion must bind the proper sensibles (...) –i.e. colors– to the common sensibles –i.e. shapes– so as to account for the visual phenomenal character of shapes. But, as Grice rightly objected, neither association, nor ontological dependence will do –I spend some time isolating why dependence is a bad answer here, basically because the dependence of shape on colors is generic, and that genericity is arguably not part of the phenomenal content of perception. -/- Grice is wrong, however, to think that once association and dependence have been rebutted, there is no other way to attach color to extension. The right way to connect proper and common sensibles is rather trivial, although it seems to have been widely neglected: proper sensibles FILL common ones. To see a shape, by contrast to feeling it, is to perceived as filled by some color. To feel a shape, is to perceive it as, say, filled by pressure. Filling in is the phenomenal connection between proper and common sensibles. -/- One important corollary of that proposal is that proper sensibles –color, pressure, noise, taste...– have to belong to the category of stuffs, in the sense of uncountable entities. Against the widespread view that colors are properties, which have countable instances, the last part of the paper argues that colors are phenomenal stuffs, which fill some visual area. One commits a category mistake in asking: "How many tropes/instances of this determinate redness is there on that ladybird". One should rather ask "How much of this determinate redness is there on that ladybird". (shrink)

Kant attacks the Leibnizians on various fronts but the objection that occurs most frequently in his writings is that they are committed to an untenable conception of the relation between sensible and intellectual representations. They regard the difference between intellectual and sensible representations as a merely ‘logical’ difference that concerns their form, namely, their different degrees of distinctness, while in truth it is a difference in kind that concerns their nature, origin, and content. In the first part of (...) this essay, I provide a detailed reconstruction of what exactly this objection amounts to, and show why Kant takes this misconception to be so significant that he keeps coming back to it over and over again. The misconception is so significant because virtually all of the other mistaken doctrines of the Leibnizians can be traced back to it. Several commentators have argued that Leibniz is not guilty of the confusion of sensible and intellectual representations that Kant accuses him of. But this does not automatically clear him from all the other errors that Kant takes to be closely connected with this confusion. In the second part of this essay, I take a look at Leibniz's theory of confused perceptions and examine whether he is committed to one of these errors, namely, the view that we could learn something about things in themselves by experience if our senses were acute enough or our powers of 'disfusing' perceptions were strong enough. (shrink)

Kant holds that the human cognitive power is divided into two "stems", understanding and sensibility. This doctrine has seemed objectionably dualistic to many critics, who see these stems as distinct parts, each able on its own to produce representations, which must somehow interact, determining or constraining one another, in order to secure the fit, requisite for cognition, between concept and intuition. This reading cannot be squared, however, with what Kant actually says about theoretical cognition and the way understanding and sensibility (...) cooperate in it. Such cognition, as Kant conceives of it, satisfies two conditions: it has unity, and it depends on the existence of its object. The first of these conditions entails that the cognitive power must lie in spontaneity, or understanding, while the second implies that this spontaneity depends on receptivity, or sensibility, to be the cognitive power that it is. Consideration of how these capacities must be conceived as cooperating in cognition reveals them to be related, not as interacting parts, but as form and matter. Such a conception of their relation may at first glance seem to be merely another version of dualistic thinking; in fact, however, a proper appreciation of it eliminates the appearance of dualism and helps allay an associated concern that Kant's distinction would taint our cognition with an unacceptable subjectivism. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

In virtue of what are particular individuals or objects thought about? I call this the grounding question. A consensus answer is bifurcationism: objects can be thought about in virtue of both satisfactional grounds—roughly, in virtue of their unique satisfaction of conditions that figure in a subject's thought—and non-satisfactional grounds. Bifurcationism is a consensus view, but it comes in different flavours that correspond to different approaches to answering the grounding question. This paper draws on Saul Kripke's approach to linguistic reference in (...) order to make recommendations about how to move toward a sensible bifurcationism concerning what grounds thought about particulars. (shrink)

Berkeley seems to be committed to the view that human sensible ideas are identical to certain divine ideas. However, this interpretation is subject to three objections. I argue that Berkeley holds that human sensible ideas are qualitatively identical to certain divine ideas, and I argue that objections to this view can be satisfactorily answered.

Can the world itself _be_ vague, so that rather than vagueness be a deficiency in our mode of describing the world, it is a necessary feature of any true description of it? Gareth Evans famously poses this question in his paper ‘Can There Be Vague Objects’ (Analysis 38(4):208, 1978 ). In his recent paper ‘Indeterminacy and Vagueness: Logic and Metaphysics’, Peter van Inwagen ( 2009 ) elaborates the account of vagueness and, in particular, in the case of sentences, consequent indeterminacy (...) in truth value, to which this conception of ‘worldly’ vagueness is opposed, calling it the ‘sensible’ theory of indeterminacy and rejecting it. In what follows, I defend the sensible theory van Inwagen rejects. I first explain more fully what it involves and, as importantly, what it does not. (shrink)

Thomas Aquinas consistently maintains that there are two kinds of beauty: bodily or sensible beauty and spiritual or intelligible beauty. Due to the lively debate over whether intelligible beauty is a transcendental for Thomas, discussions of his aesthetics have tended either to ignore his views on sensible beauty or to mention them only in passing. The present paper will therefore give a brief overview of Thomas’s thought on bodily beauty. The first section will discuss the objective aspects of (...) sensible beauty for Thomas, i.e., its definition and three conditions, while the second will present his views on its subjective aspects, i.e., how we experience it, why it pleases us, and its importance for human flourishing. The third and final section will examine how Thomas’s account of sensible beauty affects his views on the beauty of the glorified human body and of the universe as a whole after the Last Judgment. (shrink)

I defend the thesis that Kantian analytic judgments are about objects (as opposed to concepts) against two challenges raised by recent scholars. First, can it accommodate cases like “A two-sided polygon is two-sided”, where no object really falls under the subject-concept as Kant sees it? Second, is it compatible with Kant’s view that analytic judgments make no claims about objects in the world and that we can know them to be true without going beyond the given concepts? I address (...) these challenges in two steps. First, given Kant’s distinction between an object in general = x from an object of sensible intuition, I argue that analytic judgments are about objects in the former sense, no matter whether the purported objects can be given in our intuition. Second, using Kant’s method of representing certain logical relations of concepts with such figures as circles, I construct a model to show that analytic truths are truths about objects in general = x and yet can be determined solely by the intensional relation between the given concepts plus certain Kantian-logical laws. Analytic truths are thus shown as formal in the Kantian sense that they do not presuppose the purported objects as givable in our intuition. This account of the formality of analytic truths captures Kant’s diagnosis of the Leibnizian illusion that we can make material claims about the world by analytically true judgments. (shrink)

On the horizon between metaphysics and philosophy of religion stands the question of God’s relation to various abstracta. Like other contemporary philosophical debates, this one has resulted in a broadly dichotomous stalemate between Platonic realists on the one hand and varieties of nominalism/antirealism on the other. In this paper, I offer Aquinas’s moderaterealism as a true middle ground between realist or nominalist solutions. What Platonists take to be abstracta are actually the result of intellect’s abstractive work on sensible objects. (...) Further, the Christian philosopher should be concerned as much, if not more so, by nominalism than by Platonism. Given the problems associated with either Platonist or nominalist solutions, one should be open to a Thomistic moderate-realist solution to the problem of God and abstracta. (shrink)

In the Critique of Pure Reason (1781/1787), Kant sought to explain the objectivity of cognition by describing the operation of certain human cognitive activities. That is, in some sense Kant explained cognition's objectivity by appealing to features of the mind. A century later, the Marburg School Neo-Kantians Hermann Cohen and Paul Natorp would insist that philosophers must explain cognition's objectivity without appeal to the subject's mind. Once at the center of the Kantian account of objectivity, the mind had been expunged (...) from it. This shift was the emergence of anti-psychologism, the view that the mind has no place in philosophical accounts of cognition's objectivity. This dissertation offers an account of how that shift happened. Chapter 1 argues that a central section of Kant's Critique of Pure Reason, the Transcendental Deduction, is a description of a cognitive operation—namely, the apperception's synthesis of the manifold of sensible intuition. Because this operation is necessary, it determines the structures that a subject's cognition must conform to, and thus explains cognition's objectivity for Kant. But Kant's view that the mind is characterized by necessary cognitive operations was abandoned in the nineteenth century in favour of purely empirical conceptions of the mind. Chapter 2 argues that, in response to this change and in particular to the psychologism of the Back to Kant movement, Cohen developed an anti-psychologistic account of cognition's objectivity: for him, objectivity must be explained by appeal to the principles and laws of mathematics and pure natural science. But his account fails, since he does rot explain why those laws explain cognition's intersubjectivity. Chapter 3 examines Wilhelm Wundt's and Ernst Mach's attempts to articulate purely empirical conceptions of the mind, and to explain cognition's objectivity by appeal to the mind so conceived, as well as Hermann Lotze's anti-psychologism. Chapter 4 argues that, for Natorp, fundamental physical laws constitute the intersubjective content of cognition because they are invariant across space and time, and so different subjects can share representations of them despite having different points of view on the world. Natorp thus finally articulates a successful anti-psychologistic alternative to Kant's account of objectivity. (shrink)

Most critical studies of consumerism denounce the deceptive images produced by commodities, but what happens when consumer goods are rejected as waste? Instead of considering garbage disposal as a merely technical and hygienic issue, this article investigates the “aesthetics of disappearance” of waste. The structural reasons for the invisibilization of waste and the political effects of its manifestation will be analyzed through Jacques Rancière’s notion of “distribution of the sensible.” The central thesis is that material consumer culture, based on (...) a continuous process of devaluing and replacing items, needs organizing the perceptual field to make waste disappear and thus create the illusion that, once discarded, an object vanishes. Therefore, making waste visible is interpreted as a rapture of the normative configuration of the sensible, disturbing habitual modes of experiencing and signifying reality. This hypothesis is investigated through a paradigmatic artistic work: Matta-Clark’s Garbage Wall (1970). The American artist exposes waste in the public space to challenge the established distribution of spaces and functions in the urban context, displaying waste’s stubborn resistance to the imperative to disappear. (shrink)

The present paper aims to trace back Kant’s account of the schematism of the pure understanding in the Critique of Pure Reason to the Dissertation. I do so by discussing Kant’s understanding of sensible cognition in view of his assessment of metaphysics. I argue, first, that Kant in both texts aims to defend metaphysics against skeptical attacks by discarding those of its elements he considers unwarranted and, second, that this undertaking hinges on his account of concepts that function as (...) the sensible condition of cognition. Yet whereas Kant argues in 1770 that metaphysics must be purely intellectual, he in 1781 draws on his earlier account of sensible concepts to argue, against the Wolffians, that determining intelligible objects by purely intellectual means does not amount to cognition proper. (shrink)

One of the aims of phenomenology was to uncover a logic of the sensible world. This essay shows how rhythm can be understood as a logic of the sensible world and how rhythm is not only a profoundly aesthetic experience but one integral to phenomenological reflection. The essay highlights how aesthetic experiences accomplish phenomenological reductions and how phenomenological reflection demands a continued inquiry into the ways intelligibility first opens from within the sensible world. Rhythm is shown to (...) be a preverbal logic and expressive power that takes place between sensing and the sensible. The essay explores how art and phenomenology draw upon rhythms to bring forth senses of experience that normally get passed over and escape conceptual determination. The investigation digs beneath predicated experience and propositional language to reveal how rhythm is a preverbal mode of inquiry that takes place between solicitations made by the sensible and the body’s sensitive responsiveness. Rhythm establishes an original synchronic relation to sensible things that allows nascent forms of intelligibility to come into a dynamic and living clarity. However, rhythms comprise a latent form of intentionality that precedes the act-object schema of intentionality. As a form of intentionality rooted in the senses, rhythm is shown to be a mode of transport that effectuates absorptive experiences which pose unique challenges for phenomenological reflection and aesthetic theory. Nonetheless, rhythm helps clarify one way in which sources of intelligibility not only grow out of the sensible world but retain an enduring aesthetic quality. (shrink)

Show more ▾ There are various dichotomies in Kant’s philosophy: sensibility vs. rationality, nature vs. freedom, cognition vs. morality, noumenon vs. phenomenon, among others. There are also different ways of mediating these dichotomies, which is the systematic undertaking of Kant’s Critique of the Power of Judgment. One of the most important concepts in this work is the sublime, which exemplifies the connections between the different dichotomies; this fact means the concept’s construction is full of tension. On the one hand, as (...) a pure reflection of aesthetic judgment the sublime must be without interest or purpose, but on the other hand it is “based on the concept of reason” (KU AA:292). On the one hand, the sublime “represents merely the subjective play of the powers of the mind (imagination and reason) as harmonious” (KU AA5:258), but on the other hand, reason “exercises dominion over sensibility” and the imagination is “purposively determined in accordance with a law” of reason (KU AA5:268f). Taking into account these problems concerning the essential definition the sublime, this paper will first illustrate how the sublime embodies the a priori principle of aesthetic judgment through contrasting the judgment of the sublime with the judgment of taste in order to establish a basic logical frame for the judgment of the sublime. Second, this paper redefines the boundary between the mathematically and dynamically sublime in order to reveal both the coexistence of contemplation and movement within the sublime and the unrevealed function of reason and imagination. Finally, contrasting the sublime with moral feeling, this paper elaborates the turning-structure (from sensibility to rationality and from object-intuition to idea-exhibition) of the sublime. (shrink)

The collective works edited by Emmanuel Alloa and Adnen Jdey, Du sensible à l’oeuvre, and by Mauro Carbone, L’empreinte du visuel, meet the dual requirementimposed by reading the work of Merleau-Ponty today: on one hand, they extend the philosopher’s thought and highlight its obvious necessity in reading the mostcontemporary art; and, on the other hand, by not allowing themselves to be lulled by the gentle seduction of the writing, they emphasize the coherence of his thought andthe rigor of certain (...) of his key concepts such as style, resumption, flesh or individuation, which are the object of precise and unpublished studies. (shrink)