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Phenomenology

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Qualia. In philosophy, qualia (/ˈkwɑːliə/ or /ˈkweɪliə/; singular form: quale) are what some consider to be individual instances of subjective, conscious experience.

Qualia

The term "qualia" derives from the Latin neuter plural form (qualia) of the Latin adjective quālis (Latin pronunciation: [ˈkʷaːlɪs]) meaning "of what sort" or "of what kind"). Examples of qualia include the pain of a headache, the taste of wine, or the perceived redness of an evening sky. As qualitative characters of sensation, qualia stand in contrast to "propositional attitudes".[1] Daniel Dennett (b. 1942), American philosopher and cognitive scientist, regards qualia as "an unfamiliar term for something that could not be more familiar to each of us: the ways things seem to us".[2] Erwin Schrödinger (1887–1961), the famous physicist, had this counter-materialist take: The sensation of color cannot be accounted for by the physicist's objective picture of light-waves.

Definitions[edit] Arguments for the existence of qualia[edit] Квалиа. «Квалиа» — от лат. qualia (мн. ч.) — свойства, качества, quale (ед. ч.) — какого сорта или какого рода.

Квалиа

Термин, используемый в философии, преимущественно в англоязычной аналитической философии сознания, для обозначения сенсорных, чувствительных явлений любого рода. Введен американским философом К. И. Льюисом (англ.)русск. в 1929 г. Квалиа — это «необычный термин для обозначения самой обычной из возможных для нас вещи: того, как вещи выглядят для нас»[1]. «Красность» является классическим примером квалиа. История и распространённость термина[править | править исходный текст] Слово приобретает современное значение в начале XX века в работах К. Сторонники существования квалиа известны под именем квалиафилов, скептики — как квалиафобы [2]. Определение квалиа[править | править исходный текст] Общее определение[править | править исходный текст] Существует много определений квалиа, и они менялись со временем.

Более узкие определения[править | править исходный текст] Инвертированные квалиа или что. Biological Research - From autopoiesis to neurophenomenology: Francisco Varela's exploration of the biophysics of being. DAVID RUDRAUF, ANTOINE LUTZ, DIEGO COSMELLI, JEAN-PHILIPPE LACHAUX, and MICHEL LE VAN QUYEN Laboratoire de Neurosciences Cognitives et Imagerie Cérébrale, CNRS UPR 640,Paris, France Corresponding Author: David Rudrauf.

Biological Research - From autopoiesis to neurophenomenology: Francisco Varela's exploration of the biophysics of being

Laboratoire de Neurosciences Cognitives et Imagerie Cérébrale, CNRS UPR 640, Hôpital de la Pitié-Salpêtrière, 47 Bd de l'Hôpital, 75651, Paris Cedex 13, France. Phone: (33-1) 42 16 11 72 - e-mail: david.rudrauf@chups.jussieu.fr This paper reviews in detail Francisco Varela's work on subjectivity and consciousness in the biological sciences. Key terms: Autonomous systems; Brain dynamics, Consciousness, Embodiment, Francisco Varela, Neurophenomenology. In this paper we will review Francisco Varela's ideas about what is now often called the "hard problem" (Chalmers, 1996): the issue of the relationships between our subjective experience and our objective bio-physical embodiment.

The thematic landscape Setting the stage: experience as explanandum The Nagel Effect. Eprints.ru.ac.za/1516/1/Cognitive-existential.pdf. Documents/Kupers, Phenomenology Vol. 5 No. 1.pdf. Phenomenology. eContact! 10.4 - The Phenomenology of Musical Instruments: A Survey. Communauté électroacoustique canadienne Canadian Electroacoustic Community GM-500 — 1455, boulevard De Maisonneuve Ouest Montréal, QC — H3G 1M8 Canada – cec@sonus.ca by Thor Magnusson and Enrike Hurtado An earlier version of this paper, entitled “The Acoustic, the Digital and the Body: A Survey on Musical Instruments,” was presented at NIME 2007 (New York City USA, 6–10 June 2007).

eContact! 10.4 - The Phenomenology of Musical Instruments: A Survey

It has been revised, updated and expanded for publication in eContact! 10.4. Introduction The Aim of the Survey Methodology Evaluation and Findings Interesting Comments Discussion Future Work Notes | Bibliography | Author Biographies Introduction At this moment in time, we witness an extraordinary boom in the research and development of digital musical instruments. The Aim of the Survey Research Questions The Participants Figure 1. We tried to reach a wide audience with our survey: from the acoustic instrumentalist that has never touched a computer to the live-coder that does not play a traditional instrument. Rethinking Knowledge: Reflections Across the Disciplines.