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Updated: May 31, 2025
With open eyes we see things; with our eyes closed we can imagine them: we see what is before us; we imagine what lies behind our backs. If we confine our attention to the bit of experience itself, we have no means of determining whether it is sensory or imaginary. Only its setting can decide that point. Here, we have come to another distinction of much the same sort.
If we look at the landscape, every single spot of color, reaching a nerve fiber in our eye and finally a sensory cell in our brain, is there the starting point for an impulse to make an eye movement in the direction of the seen point.
It can be proved that some experiences are sensory and that some are not. This means that, in drawing the distinction, we remain within the circle of our experiences. There has been much unnecessary mystification touching this supposed reality behind experiences. In the next chapter we shall see in what senses the word "reality" may properly be used, and in what sense it may not.
Physiologically, this twofold process implies that during the Kindergarten period the sensory areas of the brain are being exercised and organised and that the associative activity evoked is concerned with the co-ordination of the impressions derived through these areas.
All functions of the brain, all forms of nerve impulse are modifications of the simple reflex action, the automatic transfer of sensations derived from external objects into movements of the body. The sensory nerves furnish the animal or man all knowledge of the external world. The brain, sitting in absolute darkness, judges these sensations, and sends out corresponding impulses to action.
But it matters everything, morally, whether an intellectual good is more or less permanent, more or less inclusive, more or less valuable than a sensory good. This is the real moral problem man is faced with. And this is the moral problem Spinoza considers and solves. Everybody knows what is Spinoza's solution.
It is altogether likely that countless forms of intelligent beings inhabit the starry wastes, receiving through sensory apparatus widely different from ours very diverse impressions of the external world.
Pure Space, if it means anything, means absolute material emptiness and vacuity. How, then, by any possibility can it give rise to a sensation? What sensory organ can it be conceived as affecting? How and in what way can it be felt? The truth is the idea of Space is essentially negative. It represents absence of physical obstruction of every kind.
In a few years the character begins to "set," and the size of the character will be in large part determined by the number and variety of emotional, intellectual, sensory, and muscular elements that have been developed during this adolescent period. One of the characteristics of this age is the tendency to hero worship.
No one of these terms is very good as a name of the image referred to. The first group object or concrete image refers to an image in which the sensory qualities, such as color, size, rhythm, sweetness, harmony, etc., are present. The images of a friend, of a text-book, of the national anthem, of an orange, of the schoolroom, and so on, would all be object images.
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