In The Puzzle of Experience, J. J. Valberg argues that, concerning the content of our visual experience, there is contention between the answer derived from reasoning and that found when 'open to experience '. The former leads to the conviction that a physical object can never be “the object of experience,” while with the latter “all we find is the world” (18). After first clarifying what is meant by 'object of experience ', the 'problematic reasoning ' will then be detailed. Afterwards, it will be explained how being 'open to experience ' opposes the reasoning, as well as why the resulting “puzzle” cannot be easily resolved. Lastly, a defence of Valberg 's argument will be offered on the grounds that it relevantly captures how we understand our visual …show more content…
To avoid circularity in the reasoning, Valberg seeks a definition of 'object of experience ' which does not presume to include or exclude external objects. Firstly, such an object must be “present in experience,” or directly accessible (19). It must also be a particular existing in time, since asserting that an object is directly present in experience requires that it exists here in this moment (20). When the object is present, we are able to fixate on it and to make “demonstrative reference” using terms like 'this ' to indicate the object of our fixation (21). Valberg 's goal is to distinguish the 'object ' implicated by 'object of experience ' from that by 'external object '. The latter usage of 'object ' refers to something, like a book, which exists in the world regardless of whether present in experience, so 'thing ' is a fitting replacement (22). In contrast, an internal object, such as a hallucinated book, depends on presence in experience for existence because it is “not
Sensory images impact the understanding of events by describing how come things make them feel physically, feelings that the reader can relate to. One example is at the end of Lucas’s dream, he feels “icy hands” push him so deep into a pool where he could no longer see anything from the surface and had no air, making his lungs want to “explode” (Wagamese 29). If the readers were ever to hold their breath for a long time, they too could experience a feeling like what Lucas describes. Reoccurring images enrich the work and hint at its meaning by giving the reader more details about it every time to build the mental image of the carving and explaining the dreams that gave the images meaning (Wagamese
Our present bodies are like a tent. A tent “is a common picture of the earthly life and its setting in the body” (Barret 22). I wonder sometimes how useful the authors’ painter the word picture for us. For example, the using the tent imagination that
The ways in which people are capable of expressing themselves through the use of art is endless. To some extent, each person has an extremely different interpretation of introspection into their psych. In this paper though, the differences will be put on hold while the spotlight shifts to the similarities, for better or worse, that we all share. Alan Rath’s sculpture Infoglut for example, has a brutally honest take on how technology has shaped who we all are. Infoglut transforms parts of the human body through the use of technology and “industrial components.”(TOCA)
In his 1974 book ‘Anarchy, State, and Utopia’, Nozick proposed a famous thought experiment known as the ‘Experience Machine’. This hypothetical machine aims to argue against moral hedonism by proposing that people would not want to experience the machine and, therefore, there are more intrinsically important elements to one 's existence than pleasure. This essay aims to firstly outline Nozick’s argument, then illustrate how it can be seen as a counter-argument to hedonism and finally provide a critique of the conditions of the argument. Nozick introduces his readers to the ‘Experience Machine’ by describing the machine as one which could “stimulate your brain so that you would think and feel you were writing a great novel, or making a friend,
Shinozuka’s word choice is significant in this paragraph because terms like “we” and “our” insinuated that what she experienced was universal (Ramage et. al, 98). In and of itself, this doesn’t weaken her argument. What does weaken her argument, however, is the lack of evidence or reasoning to support why she assumes her experiences to be universal (Ramage et. al, 98).
In Shepard and Metzler’s experiment the visual stimuli used were assemblages of cubes. Whereas this experiment uses black figures. The difference in visual stimuli may have affected the participant’s processing of the figure. The cubes could be potentially easier to mentally rotate one figure to see whether it could be mapped onto the other, since the cubes could be counted. Whereas, the black figures used in this experiment are more ambiguous in
In “Ways of Seeing”, John Berger implies that what we see comes before what we speak or think. He provides an illustrate example as how a child will look and recognize the object before it speaks. He argues that, “It is seeing which establishes our place in the surrounding world; we explain the world with words, but words can never undo the fact that we are surrounded by it” (7). He observes that how people see things is affected by what one was taught, belief or
The excerpt from the novel by James Elkins, “How to Look at Nothing,” describes what occurs to our vision when we are faced with nothing. The excerpt accurately describes a variety of phenomenons that happen to anyone when placed in the correct circumstances. It also reveals a lot about what how our vision can be askew. Our ability to judge and act on what we see is sometimes distorted by our own vision.
In this example he allows us to hear the wind along with that patterns of turbulence associated with it. I believe that his artwork is very important because it allows individuals to see and perceive what they wish. “Psychologist assume that perception begins with some real-world
From this I will offer a critique of Kant’s account of things-in-themselves and suggest that they are unknowable because the idea of such things is unintelligible. In order to understand Kant ’s claiming of things-in-themselves being unknowable can
The four realms of experience” (Pine and Gilmore 1998,1999) is a figure created to identify what creates a memorable experience; namely “Entertainment, Education, Esthetics, and Escapism. “ (Hanssen, A. G. (2011). Entertainment category shows that people participate passively and their experiences is leaning towards immersion. Education category requires an active participation however its relationship to its environment is more absorption. Escapist is a combination of educational and entertainment experiences and is more immersion than absorption.
Moreover, Hildebrand suggests that the movement within the space of complex order rewards our innate mental attention as humans’ memory are capable of memorizing the discontinuous presentation. This behavior has its early practicality in retaining certain features visually, aurally and rhythmically, assisting in recognizing orientation in a resourceful yet complex environment. This is particularly true in a cognitive context, as Robinson asserts that human’s haptic sense, a system which pertains to our sense of touch, is connected emotionally and mentally. The comprehension abilities of humans is not solely based on visual qualities and hypothesis of mental states, but also through perceiving other’s bodily experience. While entering the threshold to Wright’s Taliesin West (Figure 11.)
In the architectural realm these nonvisual experiences become important in how our space is perceived, how it makes people feel and even perform. The scale of architecture in relation to the person, the sensation a hand feels while touching a handrail, or the sound a person makes on the building as they walk: all of these
Indirect perception implies that it is not actually of the environment itself but a cognitive representation of the environment that we percieve, assembeled by and existing in the brain. It is by the process of construction in which our seneses consult memories of prior experience before delivering a visual interpretation of the visual world. It argues that there is no direct way to examine objects that is independent of our conception; that perception is
Laura Marks argues that visual and cultural studies originated out of the intention to correct the evident elitism and disciplinary narrowness of art history and related disciplines. Nevertheless, the move toward visual culture has created a sensory hierarchy of western philosophy which only the distance senses are seen as mediums of knowledge with the idea that only vision and hearing can be a means of beauty (Marks 2008:123). Artists are appreciated as exponents of the trained eye, who are supposed to know how to look and appeal to visual satisfaction. Their total dependency on sight has almost completely denied the sense of touch, smell, taste and hearing within an artwork (Lauwrens 2012:1).