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The first known study of the sublime is ascribed to Longinus: Peri Hupsous/Hypsous or On the Sublime. This is thought to have been written in the 1st century AD though its origin and authorship is uncertain. For Longinus, the sublime is an adjective that describes great, elevated, or lofty thought or language, particularly in the context of rhetoric. As such, the sublime inspires awe and veneration, with greater persuasive powers. Longinus' treatise is also notable for referencing not just Greek writers such as Homer but also biblical sources such as Genesis.
This treatise was rediscovered in the sixteenth century, and its subsequent impact on aesthetics is usually attributed to its translation into French by Nicolas Boileau-Despréaux in 1674. Later the treatise was translated into English by John Pultney in 1680, Leonard Welsted in 1712, and William Smith in 1739 whose translation had its fifth edition in 1800.
The development of the concept of the sublime as an aesthetic quality in nature distinct from beauty was first brought into prominence in the eighteenth century in the writings of Anthony Ashley Cooper, third earl of Shaftesbury, and John Dennis, in expressing an appreciation of the fearful and irregular forms of external nature, and Joseph Addison's synthesis of concepts of the sublime in his The Spectator, and later the Pleasures of the Imagination. All three Englishmen had, within the span of several years, made the journey across the Alps and commented in their writings of the horrors and harmony of the experience, expressing a contrast of aesthetic qualities.[1]
John Dennis was the first to publish his comments in a journal letter published as Miscellanies in 1693, giving an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but "mingled with Horrours, and sometimes almost with despair".[2] Shaftesbury had made the journey two years prior to Dennis but did not publish his comments until 1709 in the Moralists. His comments on the experience also reflected pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1, 390-91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373).[3]
Joseph Addison embarked on the Grand Tour in 1699 and commented in Remarks on Several Parts of Italy etc. that "The Alps fill the mind with an agreeable kind of horror".[4] The significance of Addison's concept of the sublime is that the three pleasures of the imagination that he identified; greatness, uncommonness, and beauty, "arise from visible objects" (sight rather than rhetoric). It is also notable that in writing on the "Sublime in external Nature", he does not use the term "sublime", but uses terms that would be considered as absolutive superlatives, e.g. "unbounded", "unlimited", as well as "spacious", "greatness", and on occasion terms denoting excess[2]
Addison's notion of greatness was integral to the concept of the sublime. An art object could be beautiful but it could not rise to greatness. His work Pleasures of the Imagination, as well as Mark Akenside's Pleasures of the Imagination (1744), and Edward Young's Night Thoughts (1745), are generally considered as the starting points for Burke's analysis.
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In philosophy, psychology, and the cognitive sciences, perception is the process of attaining awareness or understanding of sensory information. It is a task far more complex than was imagined in the 1950s and 1960s, when it was predicted that building perceiving machines would take about a decade, a goal which is still very far from fruition. The word comes from the Latin words perceptio, percipio, and means "receiving, collecting, action of taking possession, apprehension with the mind or senses."[1]
Perception is one of the oldest fields in psychology. The oldest quantitative law in psychology is the Weber-Fechner law, which quantifies the relationship between the intensity of physical stimuli and their perceptual effects. The study of perception gave rise to the Gestalt school of psychology, with its emphasis on holistic approach.
What one perceives is a result of interplays between past experiences, including one’s culture, and the interpretation of the perceived. If the percept does not have support in any of these perceptual bases it is unlikely to rise above perceptual threshold.
Two types of consciousness are considerable regarding perception: phenomenal (any occurrence that is observable and physical) and psychological. The difference everybody can demonstrate to him- or herself is by the simple opening and closing of his or her eyes: phenomenal consciousness is thought, on average, to be predominately absent without sight. Through the full or rich sensations present in sight, nothing by comparison is present while the eyes are closed. Using this precept, it is understood that, in the vast majority of cases, logical solutions are reached through simple human sensation.
The analogy of Plato's Cave was coined to express these ideas.
Passive perception (conceived by René Descartes) can be surmised as the following sequence of events: surrounding → input (senses) → processing (brain) → output (re-action). Although still supported by mainstream philosophers, psychologists and neurologists, this theory is nowadays losing momentum. The theory of active perception has emerged from extensive research of sensory illusions, most notably the works of Richard L. Gregory. This theory, which is increasingly gaining experimental support, can be surmised as dynamic relationship between "description" (in the brain) ↔ senses ↔ surrounding, all of which holds true to the linear concept of experience.
Basic physical truths such as cause and effect and vagrant patterns imposed upon the perceived laws of creation similarly support this dualistic appreciation of reality-perception.
Additional types include:
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In the case of visual perception, some people can actually see the percept shift in their mind's eye[2]. Others, who are not picture thinkers, may not necessarily perceive the 'shape-shifting' as their world changes. The 'esemplastic' nature has been shown by experiment: an ambiguous image has multiple interpretations on the perceptual level. The question, "Is the glass half empty or half full?" serves to demonstrate the way an object can be perceived in different ways.
Just as one object can give rise to multiple percepts, so an object may fail to give rise to any percept at all: if the percept has no grounding in a person's experience, the person may literally not perceive it.
The processes of perception routinely alter what humans see. When people view something with a preconceived concept about it, they tend to take those concept and see them whether or not they are there. This problem stems from the fact that humans are unable to understand new information, without the inherent bias of their previous knowledge. A person’s knowledge creates his or her reality as much as the truth, because the human mind can only contemplate that to which it has been exposed. When objects are viewed without understanding, the mind will try to reach for something that it already recognizes, in order to process what it is viewing. That which most closely relates to the unfamiliar from our past experiences, makes up what we see when we look at things that we don’t comprehend. [3]
This confusing ambiguity of perception is exploited in human technologies such as camouflage, and also in biological mimicry, for example by Peacock butterflies, whose wings bear eye markings that birds respond to as though they were the eyes of a dangerous predator. Perceptual ambiguity is not restricted to vision. For example, recent touch perception research Robles-De-La-Torre & Hayward 2001 found that kinesthesia based haptic perception strongly relies on the forces experienced during touch. [4]
Cognitive theories of perception assume there is a poverty of stimulus. This (with reference to perception) is the claim that sensation are, by themselves, unable to provide a unique description of the world. Sensations require 'enriching', which is the role of the mental model. A different type of theory is the perceptual ecology approach of James J. Gibson. Gibson rejected the assumption of a poverty of stimulus by rejecting the notion that perception is based in sensations. Instead, he investigated what information is actually presented to the perceptual systems. He and the psychologists who work within this paradigm detailed how the world could be specified to a mobile, exploring organism via the lawful projection of information about the world into energy arrays. Specification is a 1:1 mapping of some aspect of the world into a perceptual array; given such a mapping, no enrichment is required and perception is direct perception.
Preconceptions can influence how the world is perceived. For example, one classic psychological experiment showed slower reaction times and less accurate answers when a deck of playing cards reversed the color of the suit symbol for some cards (e.g. red spades and black hearts).[5]
There is also evidence that the brain in some ways operates on a slight "delay", to allow nerve impulses from distant parts of the body to be integrated into simultaneous signals.[6]
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