First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of Husserl, (...) Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

Introduction This book is about the nature of the content of psychological states. Examples of psychological states with content are: believing today is a ...

In discussions of perception and its relation to knowledge, it is common to distinguish what one comes to believe on the basis of perception from the distinctively perceptual basis of one's belief. The distinction can be drawn in terms of propositional contents: there are the contents that a perceiver comes to believe on the basis of her perception, on the one hand; and there are the contents properly attributed to perception itself, on the other. Consider the content.

There is a view abroad on which perceptual experience has representational content in this sense: in it something is represented to the perceiver as so. On the view, a perceptual experience has a face value at which it may be taken, or which may be rejected. This paper argues that that view is mistaken: there is nothing in perceptual experience which makes it so that in it anything is represented as so. In that sense, the senses are silent, or, in (...) Austin's term, dumb. Perceptual experience is not as such either veridical or delusive. It may mislead, but it does not take representation to accomplish that. (shrink)

... ISBN0199215928 ... -/- Abstract: Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science traditionally has focused on a visual model. This book presents a systematic treatment of sounds and auditory experience. It demonstrates how thinking about audition and appreciating the relationships among multiple sense modalities enriches our understanding of perception. It articulates the central questions that comprise the philosophy of sound, and proposes a novel theory of sounds and their perception. Against the widely accepted philosophical (...) view that sounds are among the secondary or sensible qualities, and against the scientific view that sounds are waves that propagate through a medium such as air or water, the book argues that sounds are events in which objects or interacting bodies disturb a surrounding medium. This does not imply that sounds propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near their sources. This account captures the way in which sounds essentially are creatures of time and situates sounds in the world. Sounds are not ethereal, mysterious entities. It also provides a powerful account of echoes, interference, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories. Investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. This book concludes by arguing that a surprising class of cross-modal perceptual illusions demonstrates that the perceptual modalities cannot be completely understood in isolation, and that a visuocentric model for theorizing about perception — according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry — ought to be abandoned. -/- . (shrink)

This is the Stanford Encyclopedia of Philosophy entry on the contents of perception.

Standard accounts of the senses attempt to answer the question how and why we count five senses ; none of the standard accounts is satisfactory. Any adequate account of the senses must explain the significance of the senses, that is, why distinguishing different senses matters. I provide such an explanation, and then use it as the basis for providing an account of the senses and answering the counting question.

There is a terminological matter that should be settled before getting down to business. Lopes himself is not confused about this, but a reader—especially one who doesn't pay much attention to footnotes —might easily be.

The primary objects of hearing are sounds: everything we hear we hear by hearing a sound. (This claim differs from Berkeley’s that we hear only sounds and from Aristotle’s that we only hear sounds.) Colored regions are primary objects of sight, and pressure resistant regions are primary objects of perception by touch. By definition, the primary objects of perception are physical. The properties of the primary objects of perception are exactly the properties sense-datum theories attribute to sense-data. Indirect Realism holds (...) that awareness of sense-data (or something similar) mediates our perception of primary objects. Direct Realism denies this. The question when the perception of a primary object, such as parts of the surfaces of a hat and coat, is thereby the perception of a non-primary object, such as a person, is independent of the disagreement between Direct and Indirect Realism. (shrink)