Regardless of the metaphysics that inspires them, theories of perception invariably end up in the trap of subjectivism. Thus, idealism argues that the world can be nothing more than a representation of the mind. As to dualism and materialism, despite fundamental differences, they share the common assumption that perception is a subjective replica of external objects. Opposed to these theories is common sense with its tenacious belief that an external world exists and that things are perceived where they are and (...) as they are. This paper contends that Bergson’s theory of perception should be approached from the question of what the relationship between matter and mind must be for perception to retain an objective character. It shows that only its emergence from things themselves rather than from the subject can provide objectivity to perception. In thus grounding objectivity in the impersonal character of perception, whose implication is that it precedes the subject, which is then posteriorly formed, Bergson’s theory constitutes, so the paper argues, a radical reversal of the traditional position, including that of phenomenology. (shrink)

To achieve the common origin of "I" and nature, Schelling takes a new approach to the philosophy of nature; demonstrating the falsity of dualism between "I" and nature and showing how nature cannot be reduced to a mechanistic series of causes and effects. By integrating Leibniz's principle of inner purposiveness, Spinoza's monism, and the Kantian concept of teleology, he interprets an organic idea of nature as a totality and founds "I" on the ground of this organic nature. Schelling turns to (...) Leibniz's vitalistic philosophy for presents a self-organizing scheme of nature, and he uses the intensive doctrine of substance to overcome the dualism of modern philosophy. In this view, the parts are to be deduced, in a purely analytic way from the whole, and each unit must include an infinite plurality, so the difference between subject and object is in degree, not in type; Nature is all alive, and no real object is entirely inorganic but is only in a lower degree of organic. In Schilling's point of view, the highest degree of organization of the infinite is the creativity of the artist, who is the culmination of all the organic forces of nature. The main question of this essay is about the fundamental role of Schelling's organic interpretation in his aesthetic essence. in this regard, while the impact of Leibniz's vitalistic approach is analyzed, the reinforcement of the activity of "I" in Schilling's system of thought is examined. (shrink)