This paper shows that Husserl is not guilty of Sellars’ myth of the sensory given. I firstly show that Husserl’s account of ‘sensations’ or ‘sense data’ seems to possess some of the attributes Sellars’ myth critiques. In response I show that, just as Sellars thinks that our ‘conceptual capacities’ afford us an awareness of a logical perceptual space that has a propositional structure, Husserl thinks that ‘acts of apprehension’ structure sensations to afford us perception that is similarly propositionally structured. Not (...) only this, but there is much affinity and shared motivation between Husserl and Sellars accounts of the sensory stratum. Reflection on phenomenological considerations prevents Sellars from denying phenomenal non-conceptual content, whilst Husserlian ‘sense data’ are technical designations; dependant parts of perceptual experience grasped in abstraction, necessary for providing a reflective/philosophical account of empirical knowledge. I show that both Husserl and Sellars assert that the proper description of phenomenal content affords it the function of presenting properties of spatial objects during perception, and reiterate the well-known fact that Husserl thinks that perception is of ‘conceptually’ apprehended spatiotemporal objects. (shrink)

The age old conflict between logical analysis and phenomenological study revealed by different philosophical treatments of our experience of temporal passage are discussed in the present paper. Temporal passage is found to be problematic because philosophers entertain conflicting views regarding the status of the passage of time. As logical analyses prove temporal passage as unreal or illusory and phenomenological study of our experience of temporal passage considers it to be a fundamental structure of our life, the conflict regarding the status (...) of the passage of time emerges. In this paper our aim will be to explore gradually different logical analyses of our experience of temporal passage provided by philosophers of both classical India and the West on the one hand and also to discuss some of the phenomenological treatments of our experience of temporal passage provided by some continental philosophers to show the conflict between the results of these two philosophical treatments. Finally, we would like to state that since this conflict culminates into the conflict between reason and experience, it is not possible to resolve the conflict in the present life form in which both these categories have their distinctive roles to play. (shrink)

In the phenomenology of the consciousness of internal time, Edmund Husserl has frequent recourse to sound and melody as illustrations of the processes that give rise to immanent temporal objects. In Husserl’s analysis, there is a philosophically pregnant tension between the geometrical diagrams representing multiple dimensions of immanent time and his intuition that time-points might be no more than fictions leading to absurdities. In this paper, I will address this tension in order to motivate a complementarity approach to temporal objects (...) such as sound and melody that might illuminate the phenomenology of sound-consciousness. (shrink)

In this thesis I develop an account of the nature of limits of thought in terms of Husserl's phenomenology. I do this by exploring in terms of Husserl's phenomenology various ways thought-limits are encountered. Chapter One employs Husserl's analyses of meaning and intentionality to clarify the limits of conception and of questioning that emerge in wonder at the existence of the world. Chapter Two undertakes a critique of Husserl's refutation of psychologism in logic in order to clarify limits encountered in (...) reflection on the possibility of knowledge and how Husserl's phenomenology proposes to overcome these limits. Chapter Three turns to Husserl's own encounter with intellectual limits in his phenomenology of time-consciousness. Here I show how some of the limits explored in the first two chapters re-emerge on a transcendental level and argue that time-consciousness marks the limit to Husserl's phenomenology in the sense that it frustrates cognitive desire. In this way the thesis shows how Husserl's phenomenology both clarifies and itself illustrates an ineliminable desire in reason to exceed its limits, even when these limits are recognized. (shrink)

Abstract: In philosophy, perceptual constancy refers to the puzzling phenomenon of the perception of properties of objects despite our changing experience of those properties. Husserl developed a sophisticated description of perceptual constancy. In this paper I sketch Husserl's approach, which focuses on the suggestion that perception is partly constituted by the continuous interplay of intention and fulfilment. Unlike many contemporary theories, this framework gives us a way to understand the relationship between different appearances of the same object. I will show (...) how Husserl's work connects with contemporary theories which emphasize perceptual constancy from particular perspectives. These theories include appeals to perspectival properties and Cohen's counterfactual theory. Also, I show how Husserl's account shares important themes with Kelly's recent interpretation of Merleau-Ponty on perceptual constancy. (shrink)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)