First published in 1713, this work was designed as a vivid and persuasive presentation of the remarkable picture of reality that Berkeley had first presented two years earlier in his Principles of Human Knowledge. His central claim there, as here, was that physical things consist of nothing but ideas in minds--that the world is not material but mental. Berkeley uses this thesis as the ground for a new argument for the existence of God, and the dialogue form enables him to (...) raise and respond to many of the natural objections to his position. The text printed in this volume is that of the 1734 edition of the Dialogues. (shrink)

<Hylas> It is indeed something unusual; but my thoughts were so taken up with a subject I was discoursing of last night, that finding I could not sleep, ...

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and in (...) the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (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)

Whether or not we would be happy to do without sounds, the idea that our expe- rience of sounds is of things which are distinct from the world of material objects can seem compelling. All you have to do to confirm it is close your eyes and reflect on the character of your auditory experience.

Four detailed cases of delusions of misidentification (DM) are presented: two cases of misidentification of the reflected self, one of reverse intermetamorphosis, and one of reduplicative paramnesia. The cases are discussed in the context of three levels of interpretation: neurological, cognitive and phenomenological. The findings are compared to previous work with DM patients, particularly the work of Ellis and Young (1990; Young, 1998) who found that loss of the normal affective response to familiar faces was a contributing factor in the (...) Capgras delusion. The four cases presented suggest that this particular deficit is not a critical factor in the development of other forms of DM. (shrink)

Various as these are, they have enough in common for them all to count as events, and in recent years philosophers have turned their attention to this..