I argue that a study of the Nicomachean Ethics and of the Parva Naturalia shows that Aristotle had a notion of attention. This notion captures the common aspects of apparently different phenomena like perceiving something vividly, being distracted by a loud sound or by a musical piece, focusing on a geometrical problem. For Aristotle, these phenomena involve a specific selectivity that is the outcome of the competition between different cognitive stimuli. This selectivity is attention. I argue that Aristotle studied the (...) common aspects of the physiological processes at the basis of attention and its connection with pleasure. His notion can explain perceptual attention and intellectual attention as voluntary or involuntary phenomena. In addition, it sheds light on how attention and enjoyment can enhance our cognitive activities. (shrink)

Sense experience, naïvely conceived, is a way of knowing perceptible properties: the colors, sounds, smells, flavors, and textures in our perceptual environment. So conceived, ordinary experience presents the perceiver with the essential nature of a property like Sky Blue or Middle C, such that how the property appears in experience is identical to how it essentially is. In antiquity, as today, it was controversial whether sense experience could meet the conditions for knowledge implicit in this naïve conception. Aristotle was a (...) partisan in this debate, but his position is poorly understood. This dissertation examines how Aristotle’s perceptual psychology responds to ancient challenges to the naïve conception, and so articulates his defense of perceptual knowledge. -/- Aristotle’s defense relies on an ontology of “perceptual qualities"—a core class of perceptible properties—according to which those qualities, despite having a perceiver-independent essence rooted in the physics of causation and affection, nevertheless can be present in experience as they essentially are. Chapter 1 defends this realist and objectivist reading against competing interpretations, which overlook a crucial distinction between perceptual qualities and perceptual objects. Chapter 2 presents Aristotle’s ontology as a physicalism that uncharacteristically allows for perceptual qualities to appear in experience as they essentially are. -/- This ontology informs Aristotle’s account of the psychological conditions under which perceivers actually are presented with the essence of perceptual qualities. The locus of this account is an obscure passage where Aristotle purports to show that the senses “discriminate” perceptual qualities because the senses are “mean states” (An. 2.11, 424a5–7). Chapter 3 develops a comprehensive interpretation of the sensory mean state, which Chapter 4 uses to elucidate Aristotle’s argument for sensory discrimination. Sensory discrimination turns out to be a process in which the essence of a perceptual quality comes to be present in the affection it produces in a perceiver. For Aristotle, this shows that sense perception meets a condition for knowledge that his predecessors, including Plato, thought it could not meet. For in his view, but not in theirs, sense experience shares in both the truth and the essence of the qualities it perceives. (shrink)

In the first part of the paper, I’ll rehearse an argument that perceiving that we see and hear isn’t a special case of perception in Aristotle but is rather a necessary condition for any perception whatsoever: the turning of one’s attention to the affection of the sense organs. In the second part of the paper, I’ll consider the thesis that the activity of the active intellect is analogous to perceiving that we see and hear.

Recent interpreters portray Aristotle as a Protagorean antirealist, who thinks that colors and other perceptibles do not actually exist apart from being perceived. Against this, I defend a more traditional interpretation: colors exist independently of perception, to which they are explanatorily prior, as causal powers that produce perceptions of themselves. They are not to be identified with mere dispositions to affect perceivers, or with grounds distinct from these qualities, picked out by their subjective effect on perceivers (so-called “secondary qualities”). Rather, (...) they are intrinsic qualities of objects, which are in reality just as they appear to be. At the same time, Aristotle rejects any “simple theory of color” according to which the essence and nature of colors is fully revealed in experience. Although the character of perceptibles as they are experienced is “better known to us,” their essence and nature only comes to be known through a correct theory. (shrink)

Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the very (...) basis of this tradition, namely by a reconsideration of Aristotle’s account in De Anima III.2 of the initial possibility of objective perception as such. (shrink)

The most important things in this seminal paper are (a) showing that the first part of the chapter is only setting up the aporia and does not provide the solution; (b) showing that the rest of the chapter provides the material for resolving the aporia; (c) showing that the question is not about how we perceive that we perceive, but how we can distinguish between seeing and hearing—how we are aware that we are seeing rather than hearing; (c) showing that (...) this is reducible to how we are aware that a colour is not a sound, and how we perceive the unity of objects that present themselves under more than one sense-modality. Hence the remainder of De anima 3.2 presents both the materials for the solution (actuality of sense and sensed object are one thing) and the solution (there is a common perceiver who receives the input from several senses and can unite them and also differentiate). De anima 3.2 is not about perceiving that we perceive, nor about reflexive self-awareness. The problems of interpretation and of the unity of the chapter are resolved once we see that the topic is how we can tell the difference between input from different sense modalities, how we distinguish between white things and sweet things, or between seeing and hearing, and how we perceive objects as a unity when they present themselves to separate senses. (shrink)

In this paper I hope to show that a particular modern approach to Aristotle's philosophy of mind is untenable and, out of that negative discussion, develop some tentative suggestions concerning the interpretation of two famous and puzzling Aristotelian maxims. These maxims are, first, that the soul is the form of the body and, second, that perception is the reception of form without matter. The fashionable interpretation of Aristotle which I wish to criticize is the attempt to assimilate him to certain (...) modern philosophies of mind by making him into a functionalist. I shall therefore begin by explaining this modern term of art. (shrink)

Traditional interpretations of Aristotle’s theory of perception mainly focus on uncovering the underlying mechanisms that are at stake when perceivers are affected by sensible qualities. Investigating the nature of sense perception is one of Aristotle’s main worries and one that he explicitly relates to the question of its causes (e. g.Sens. 436a16–17, 436b9) and its ends (e. g.de An. 434a30 ff.). Therefore I suggest that, in order to fully explain Aristotle’s view of perceptual phenomena, the possibilities, the constraints, and the (...) goals defined by the embodied and situated engagement of perceivers with the external world must be taken into account. Accordingly, in this paper, I provide an affective reading of Aristotle’s theory of perception. I shall ask what, in addition to functioning sense organs and appropriate response mechanisms, the perceiver contributes to perceptual content. Specifically, I propose to shed light on the significance of perceptual experience for the perceiver and I aim to show that, according to Aristotle, one’s biological and personal qualities are perceptually relevant, meaning that they underpin perception, rather than coming into play after perception has occurred and its objects have been discerned. The paper is divided into two parts, respectively dealing with sensory affections and more complex affective phenomena. As regards the domain of primal sense perception, I will focus on smell as a representative example: since Aristotle identifies it as the least developed of human sensory faculties, it will serve as a revealing illustration of how sense perception is informed and qualified by what, drawing on contemporary philosophical terminology, I will call ‘perceptual interests’, viz. the affective sense of what is at stake in the living being’s interaction with the environment. I will then proceed to consider the way more complex affective phenomena underpin perception by examining the case of emotions and that of virtues of character. By showing how perception is affectively inflected and how emotion is rooted in perception’s bodily nature, I aim to sketch out the general lines along which I believe that the Aristotelian theory of perception should be approached. (shrink)

Objectivism about perceptible qualities like colors and sounds is the view that perceptible qualities are ontologically and conceptually independent from perception. We ordinarily think of Aristotle as an objectivist about perceptible qualities – even the arch-objectivist. Yet this consensus has long been threatened by various thorny passages, including especially De anima III.2, 425b26–426a28, which appear to suggest that Aristotle is no objectivist, but a subjectivist. I show that recent attempts to make sense of these passages by appeal to Aristotle’s three-stage (...) distinction between first potentiality, second potentiality/first actuality, and second actuality commit Aristotle to a subjectivism that he cannot consistently endorse. I argue for an alternative that vindicates Aristotle’s objectivism. (shrink)

Many fragments from Theophrastus on perception are preserved by the late Neoplatonist, Priscian of Lydia. After preliminary source criticism concerning how to identify the fragments, I turn to Theophrastus’ discussion of perceiving and perceptual awareness. While he clearly rejects literalism, he also does not embrace “spiritualism”: he argues instead that we receive the defining proportions of perceptible qualities in the sense organ, though in different contraries than in the perceptible (thereby avoiding literalism). If Priscian’s report is faithful, Theophrastus also accepts (...) a moderate capacity reading of De anima III.2, locating awareness in a central monitoring sense, common to the individual modalities; and this has further implications for the unity of consciousness. Theophrastus’ method, though aporetic in form, is nonetheless a constructive engagement with the same texts of Aristotle’s we have ourselves, in the service of a joint research program in psychology that he shared with his colleague and former teacher. (shrink)

Resumen: La “visión escotópica” desarrollada por Aristóteles en De Anima II 7 es la primera formulación sistemática de este fenómeno clave para las actuales neurociencias. En la teoría aristotélica surge una aparente contradicción entre el “compromiso ontológico” de la oscuridad como privación y el “realismo gnoseológico” que considera visible esa misma oscuridad. Tomás de Aquino en su Sententia libri De Anima propone una interpretación que establece la relación analógica entre luz y oscuridad a través del color. Esta estrategia permite disolver (...) cualquier contrariedad y establecer una percepción visual de la oscuridad en sentido realista.: The “scotopic vision” developed by Aristotle in De Anima II 7 is the first systematic formulation of this key phenomenon for current neurosciences. In this theory an apparent contradiction arises between the “ontological commitment” of darkness as deprivation and the “gnoseological realism” that considers that same darkness visible. Tomás de Aquino in his Sententia libri De Anima proposes an interpretation that establishes the analogical relationship between light and darkness through color. This strategy allows to dissolve any annoyance and establish a visual perception of darkness in a realistic. (shrink)