Thomas Reid was a philosopher who founded the Scottish school of 'common sense'. Much of Reid's work is a critique of his contemporary, David Hume, whose empiricism he rejects. In this work, written after Reid's appointment to a professorship at the university of Glasgow, and published in 1785, he turns his attention to ideas about perception, memory, conception, abstraction, judgement, reasoning and taste. He examines the work of his predecessors and contemporaries, arguing that 'when we find philosophers maintaining that there (...) is no heat in the fire, nor colour in the rainbow … we may be apt to think the whole to be only a dream of fanciful men, who have entangled themselves in cobwebs spun out of their own brain'. Written by one of the Scottish Enlightenment's most important thinkers, this work brings to life the intellectual debates of the time. (shrink)

Engages with the impact of modern technology on experimental physicists. This study reveals how the increasing scale and complexity of apparatus has distanced physicists from the very science which drew them into experimenting, and has fragmented microphysics into different technical traditions.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The problems which that earlier period considered fundamental to all science were those of the theory of knowledge: What is true in our sense perceptions and thought? and In what way do our ideas correspond to reality? Philosophy and the natural sciences attack these questions from opposite directions, but they are the common problems of both. Philosophy, which is concerned with the mental aspect, endeavours to separate out whatever in our knowledge and ideas is due to the effects of the (...) material world, in order to determine the nature of pure mental activity. The natural sciences, on the other hand, seek to separate out definitions, systems of symbols, patterns of representation, and hypotheses, in order to study the remainder, which pertains to the world of reality whose laws they seek, in a pure form. Both try to achieve the same separation, though each is interested in a different part of the divided field. (shrink)

Gary Hatfield examines theories of spatial perception from the seventeenth to the nineteenth century and provides a detailed analysis of the works of Kant and Helmholtz, who adopted opposing stances on whether central questions about spatial perception were fully amenable to natural-scientific treatment. At stake were the proper understanding of the relationships among sensation, perception, and experience, and the proper methodological framework for investigating the mental activities of judgment, understanding, and reason issues which remain at the core of philosophical psychology (...) and cognitive science. (shrink)

This text provides a critique of the subjective Bayesian view of statistical inference, and proposes the author's own error-statistical approach as an alternative framework for the epistemology of experiment. It seeks to address the needs of researchers who work with statistical analysis.

In early major works, Cassirer and Schlick differently recast traditional doctrines of the concept and of the relation of concept to intuitive content along the lines of recent epistemological discussions within the exact sciences. In this, they attempted to refashion epistemology by incorporating as its basic principle the notion of functional coordination, the theoretical sciences' own methodological tool for dispensing with the imprecise and unreliable guide of intuitive evidence. Examining their respective reconstructions of the theory of knowledge provides an axis (...) of comparison along which to locate Cassirer's Neo-Kantianism and Schlick's pre-positivist empiricism, and an immediate background of contrast to the subsequent rise of logical empiricism. For in the absence of intuition all our knowledge is without objects and therefore remains entirely empty. (Kant A62/B87) And how awkward is the human mind in diving the nature of things when forsaken by the analogy of what we see and touch directly? (Boltzmann 1895). (shrink)

In visual science the term filling-inis used in different ways, which often leads to confusion. This target article presents a taxonomy of perceptual completion phenomena to organize and clarify theoretical and empirical discussion. Examples of boundary completion (illusory contours) and featural completion (color, brightness, motion, texture, and depth) are examined, and single-cell studies relevant to filling-in are reviewed and assessed. Filling-in issues must be understood in relation to theoretical issues about neuralignoring an absencejumping to a conclusionanalytic isomorphismCartesian materialism, a particular (...) neural stage that forms the immediate substrate of perceptual experience enactiveanimatesubpersonal” considerations about internal processing, but rather by considerations about the task of vision at the level of the animal or person interacting with the world. (shrink)

This paper examines the relationship between simulation and experiment. Many discussions of simulation, and indeed the term "numerical experiments," invoke a strong metaphor of experimentation. On the other hand, many simulations begin as attempts to apply scientific theories. This has lead many to characterize simulation as lying between theory and experiment. The aim of the paper is to try to reconcile these two points of viewto understand what methodological and epistemological features simulation has in common with experimentation, while at the (...) same time keeping a keen eye on simulation's ancestry as a form of scientific theorizing. In so doing, it seeks to apply some of the insights of recent work on the philosophy of experiment to an aspect of theorizing that is of growing philosophical interest: the construction of local models. (shrink)

The filling-in process proposed as a cover up for the existence of the blind spot has some conceptual similarities to blindsight. The perceptual operation of a hypothetical mechanism responsible for filling in represents a logical paradox. The apparent indeterminacy of the percept in the optic-disc region can be tested experimentally by viewing the grating test pattern below.

Hermann von Helmholtz articulated a conception of science that addresses two important issues: the role of experiments in science the role of theory in experiment. Helmholtz held that perception is structured by concepts and inferential processes, and yet, experiments enjoy epistemic independence from contested theories. The dissertation focuses upon the relation between theory and experiment in his experimental research on hearing. Helmholtz developed an epistemology of experiment informed by an "experimental" theory of perception. He shows how cognitively infused perceptual experience (...) can live quite comfortably with the fact that much experimental knowledge endures through theoretical transformations. ;The first chapter shows that though Helmholtzs conception of science evolved in important ways, it persistently retained core convictions regarding the structure of scientific explanation, the role of experiments, and the nature of perception. John Herschel's and Claude Bernard's views of experiment are examined and briefly compared to those of Helmholtz. The chapter notes as well how his account of perception influenced neo-Kantians such as Cassirer and early logical positivists such as Schlick. ;Chapters two and three discuss Helmholtz's theory of perception and emphasize its experimental foundations. The chapters explore both his Zeichentheorie and his claim that humans learn to interpret sensory content by unifying sensations into perceptual objects through unconscious inferences. He argues that perceptual knowledge requires the a priori assumption of causal relation and that perceptual knowledge amounts to unique functional coordination among objects, events, and perceptual representations. ;Chapter four surveys in detail his research program in physiological acoustics and discusses a number of experiments and theories. In chapter five I argue that his experimental program in physiological acoustics was structured by his theory of perception and that his hearing theories were important guides to his experimental designs. However, Helmholtz's experimental results were epistemically independent of the theoretical proposals guiding the experiments. The soundness of his data depended neither upon his theory of perception nor upon his particular explanatory hypotheses. Chapter six closely examines several experimental case-studies that illustrate the methodological issues outlined in chapter five. They show that experiments had numerous functions in addition to theory-testing. ;The conclusion emphasizes that Helmholtz's epistemology of experiment was unique in relation both to his contemporaries and the New Experimentalists. A decisive factor is the complementary experimental epistemology found in his theory of perception. I also briefly discuss Helmholtz's attempt to provide scientific foundations for the understanding of musical harmony and his view that important dimensions of musical creativity and perception remain beyond the reach of naturalistic explanation. (shrink)

David Cahan has assembled an outstanding group of European and North American historians of science and philosophy for this intellectual biography of Helmholtz, ...

The term ‘Ohm's law’ traditionally denotes the formula of Georg Simon Ohm relating voltage, current, and resistance in metallic conductors. But to students of sensory physiology and its history, ‘Ohm's law’ also denotes another relationship: the fundamental principle of auditory perception that Ohm announced in 1843. This aspect of Ohm's science has attracted very little attention, partly because his galvanic researches so thoroughly eclipsed it in success and importance, and partly because Ohm's work in physiological acoustics had so little immediate (...) impact on the science of his time. On announcing his hypothesis in 1843, Ohm found himself drawn into a bitter dispute with the physicist August Seebeck, who successfully discredited the hypothesis and forced Ohm to withdraw from the field. (shrink)

This chapter examines the Helmholtz's changing conceptions of the relation between scientific cognition (the thought processes of the investigator) and artistic cognition. It begins with two case studies: Helmholtz's application of sensory physiology and psychology respectively to music and to painting. Consideration of these concrete cases leads to Helmholtz's account of the methodology of aesthetics, and specifically to his formulation of the distinction between the *Geisteswissenschaften* and *Naturwissenschaften*. It then examines the development of his comparative account of the thought processes (...) of artist and scientist. This development parallels the development of his psychological theory of judgment into his famous theory of unconscious inference. The latter development exemplifies his classical "aesthetics of science.". (shrink)