Sentences with phrase «modes of perception by»

It was shown that through the separation of the two pure modes of perception by the stilling of symbolic reference, Aurobindo's experience of Nirvana could be explained.

Not exact matches

Ivor Leclerc, without doubt one of Whitehead's finest interpreters, allowed his interpretation to be guided by Whitehead's questionable classification of physical prehensions as a mode of perception.

Since a given actual entity is causally affected by every other actual entity In its past, this theory would tend to support my original «detailed» interpretation of CE in IWTP, according to which Whitehead is committed to a theory of perception in the mode of CE which yields very specific knowledge of causes.

In the night, in the jungle, visual and discrete modes of perception are replaced by the tactile, the visceral, and the more synesthetic forms of cognizance.

This would make perception of X in the mode of CE essentially identical to being causally affected by X.

His introduction of causal efficacy as a mode of perception is designed to overcome this schism, what he refers to as the «bifurcation of nature» introduced into philosophy by the dualism of Descartes and Locke.

The knowledge of causality may be grounded in experience only by paying attention to the mode of experience in which causality is the principle constituent; but it is precisely this mode of perception that both Hume and Kant ignore.

Rather, it is a projection by a percipient subject onto a (fictitious) contemporaneous spatiotemporal manifold of certain highly refined and analyzed features of entities directly (but more vaguely and dimly) encountered in the percipient's immediate past through the mode of causal efficacy.8 The important distinction between true perception — what we might now in Rortyan jargon call nonmentalistic «unanalyzed raw feels» — and this second - order symbolic projection of select percepta characteristic only of higher - order conscious organisms is somewhat blurred by terming both equally «modes of perception.»

Whitehead tries to avoid radical bifurcation by introducing a second mode of perception, CE, which discriminates the same sorts of entities (events, sensa, geometrical objects) in the same total field as PI (S 8, 30, 49, 53; PR 255 - 59).

He seems to indicate not only that it presents a vague sense of activities and dynamic relations in nature, but that it also discloses in considerable detail the causal mechanism by which the perceptions in the mode of presentational immediacy were produced.

If this were all Whitehead meant by perception in the mode of causal efficacy, he would merely be describing a commonplace experience of which we are all aware, and his doctrine would be philosophically innocuous; in fact it would not be able to sustain the weight of the philosophical edifice he builds upon it.

Both «symbolic reference» and «propositional feelings» have receptive and imaginative aspects; but, whereas Whitehead emphasized the former, cognitive aspect in his discussion of «symbolic reference,» as a rebuttal to Hume and Kant, he emphasized the latter, creative aspect in his discussion of «propositions,» an emphasis needed to counter «the interest in logic, dominating over-intellectualized philosophers,» among whom «aesthetic delight» is eclipsed by «judgment» (cf. PR 184 - 86 and WH 33) In «symbolic reference» a dim, but indirect, mode of perception («causal efficacy») is combined with a clear, but indirect, mode of perception («presentational immediacy»), which produces a sense of the external world.

First, he distinguishes from classical empiricism a revisionary description of experience according to which sense perception is neither the only nor even the primary mode of experience, but is rather derived from a still more elemental awareness both of ourselves and of the world around us» (PP 78).6 On Ogden's analysis, both the classical and this first type of revisionary empiricism «assume that the sole realities present in our experience, and therefore the only objects of our certain knowledge, are ourselves and the other creatures that constitute the world» (PP 79) 7 With these «two more conventional types of empiricism» he contrasts a «comprehensive» type of revisionary empiricism distinguished from them by its consideration of the possibility (and then also by its claim) that the internal awareness it asserts together with the former revisionary type is «the awareness not merely of ourselves, and of our fellow creatures, but also of the infinite whole in which we are all included as somehow one» (PP 87, 80, 85).

In ordinary experience the pure modes of perception rarely occur in isolation; they are normally «unified by a blind symbolic reference» (PR 180 / 273).

The phenomenon of subception discussed by Rogers and selective inattention reported by H. S. Sullivan demonstrate that it is possible for the organism as a whole to conform to or experience events that the higher conscious processes will fail to detect.23 Hence, the inhibiting and habit - ridden structures of consciousness are transcended by perception in the adverbial mode.

The first pole (called «perception in the mode of causal efficacy» by Whitehead) we shall refer to simply as «primary perception».

5Actually, it is the «presented locus» that is defined by perception in the mode of presentational immediacy (PR 195f, 492), and Whitehead notes in several places that in keeping with the results of physical science the presented duration and the presented locus are not to be identified (PR 192 - 96, 492f).

Because each occasion actively appropriates its past (in a manner determined also by the way in which it receives novel possibilities into its experience) 1 it is, in a sense, self - caused, a causa sui.13 There is no absolute passivity in this fundamental mode of perception and causation.

By ignoring direct perceptions in the mode of causal efficacy, we reduce the world experienced to aspects which are immediately presented to the senses and to what we judge to be the possessor of those characteristics.

Whitehead's broadening of direct experience to include perceptions in the mode of causal efficacy provides an interesting twist to this opinion when it is examined in the philosophical context provided by his theory of perception.

While emotions are actions accompanied by ideas and certain modes of thinking, emotional feelings are mostly perceptions of what our bodies do during the emoting, along with perceptions of our state of mind during that same period of time.

This observation could indicate a compensatory role of visual processing in autism during speech perception, as supported by the observation that subjects with ASD extensively explore the mouth region in face - to - face situations (Klin et al., 2002), and use specific attention modes to enhanced local visual processing (Schwarzkopf et al., 2014).

Tomás Saraceno's Trace G64 B213 and Cumulus Filaments similarly navigate forms inspired by nature, such as clouds and spider webs, to imagine new spatial relationships, architectures and modes of perception.

Through her work, she explores various modes of representation, driven by her observation of the world and her interest in perception.

Spanning 1962 - 2002, 25 exhibitions that have contributed to shifts in modes of perception, presentation and the practice of art have been selected for investigation, from Dylaby at the Stedelijk Museum in 1962, featuring work by Robert Rauschenberg, Niki de Saint Phalle and others, to Documenta 11 in 2002, curated by Okwui Enwezor and a team of co-curators.

Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto.

Sturtevant focuses on the ubiquity of images which surround us day in, day out and affect our perception of reality, presents stereotypes, and takes a sharp and critical look at a lethargic society which is increasingly encompassed by a digitally shaped surface and moulded by the experience industry: «What is currently compelling is our pervasive cybernetic mode, which plunks copyright into mythology, makes origins a romantic notion, and pushes creativity outside the self.

By concentrating on black and white they encourage the viewer to take a fresh perspective on existing patterns of perception and artistic modes of presentation.