perception (per-sčp´shen) noun
1.The process, act, or faculty of perceiving.
2.The effect or product of perceiving.
3.Psychology. a. Recognition and interpretation of sensory stimuli based chiefly on memory. b. The neurological processes by which such recognition and interpretation are effected.
4.a. Insight, intuition, or knowledge gained by perceiving. b. The capacity for such insight.
[Middle English percepcioun,
from Old French percepcion, from Latin perceptio, perception-, from
perceptus, past participle of percipere, to perceive. See perceive.]
- percep´tional adjective
Perception (psychology), process by which sensory stimulation is organized into usable experience. Despite the fundamental role that perception plays in the lives of human beings and all but the simplest animals, its processes remain largely obscure, for two main reasons: researchers have had only limited success in breaking down perception into analyzable units; and scientifically verifiable findings are difficult to obtain or repeat, since the study of perception depends mostly on subjective and introspective reports.
Perceptual psychologists recognize that most raw, unorganized sensory stimuli are almost instantaneously and subconsciously "corrected" into percepts, or usable experience. Perception is not a simple matter of organizing direct sensory stimuli into percepts, however. Percepts themselves, gained from past experience, also become organized, greatly advancing the accuracy and speed of a person's perception. The study and theory of percepts reach beyond academic psychology to possible practical applications in learning, education, and clinical psychology.
According to classical perception theory, most percepts result from a person's ability to synthesize past experience and current sensory cues. As a newborn explores its world, it soon learns to organize what it sees into a three-dimensional pattern. Using visual, tactile, and auditory cues, the infant quickly learns a host of specific associations that correspond to the properties of objects in the physical world. Proponents of the classical theory of perception believed that most percepts are derived by what they called "unconscious inference from nonnoticed sensations."
According to Gestalt Psychology, perception is to be understood by taking into account total configurations of mental processes. Experiments by proponents of the Gestalt theory showed that perception of form- a mental structure that takes its attributes from a corresponding structure of brain processes- does not depend on perception of individual elements making up the form. Thus, "squareness" can be perceived in a figure made up of four red lines as well as in one of four black dots. More recently, researchers have found that specific retinal and nerve cells of amphibians and mammals respond to particular configurations, to particular movements, and to simultaneous stimulation of similarly located cells in the retinas of both eyes.
intellect: cognition, perception, apperception, percipience, insight
idea: conception, perception, apprehension, intellect
discrimination: insight, perception, acumen, flair, intelligence
knowledge: intellection, apprehension, comprehension, perception, understanding, grasp, mastery, intellect
sagacity: perception, perspicacity, clear thought, clear thinking, clear-headedness
Spirit borrows from matter the
perceptions on which it feeds and restores them to matter in the form
of movements which it has stamped with its own freedom.
Henri Bergson (1859-1941), French philosopher. Last sentence in Matter and Memory, "Summary and Conclusion," sct. 9 (1896; tr. 1988).
We can imagine
a society in which no one could survive as a social being because it
does not correspond to biologically determined perceptions and human
social needs. For historical reasons, existing societies might have
such properties, leading to various forms of pathology.
Noam Chomsky (b. 1928), U.S. linguist, political analyst. Language and Responsibility, "A Philosophy of Language" (1979).
The problems of society will
also be the problems of the predominant language of that society. It
is the carrier of its perceptions, its attitudes, and its goals, for
through it, the speakers absorb entrenched attitudes. The guilt of
English then must be recognized and appreciated before its continued
use can be advocated.
Njabulo Ndebele (b. 1948), Lesotho educator, writer. "The English Language and Social Change," keynote paper, 1986, delivered to the Jubilee Conference of the English Academy of Southern Africa, Johannesburg. Quoted in: Richard W. Bailey, "English at its Twilight," in The State of the Language (ed. by Christopher Ricks and Leonard Michaels, 1990).
One of the reasons for the
failure of feminism to dislodge deeply held perceptions of male and
female behaviour was its insistence that women were victims, and men
powerful patriarchs, which made a travesty of ordinary people's
experience of the mutual interdependence of men and women.
Rosalind Coward (b. 1953), British author. Our Treacherous Hearts, ch. 9 (1992).
To perceive means to
immobilize . . . we seize, in the act of perception, something which
outruns perception itself.
Henri Bergson (1859-1941), French philosopher. Matter and Memory, ch. 4, sct. 4 (1896; tr. 1911).
Can the knowledge deriving
from reason even begin to compare with knowledge perceptible by sense?
No doubt the number of people crass enough to reply exclusively on the
former and scorn the latter are sufficient in themselves to explain
the disfavor into which everything deriving from the senses has
gradually fallen. But when the most scholarly of men have taught me
that light is a vibration, or offered me any other
fruits of their labors of reasoning, they will not have rendered me an
account of what is important to me about light, of what my eyes have
begun to teach me about it, of what makes me different from a blind
man- things which are the stuff of miracles, not subject matter for
Louis Aragon (1897-1982), French poet. Paris Peasant, "Preface to a Modern Mythology" (first published 1926; repr. 1971).
U.S. Republican Party
No one has ever seen a
Republican mass meeting that was devoid of the perception of the
Mark Twain (1835-1910), U.S. author. Closing words of "Turncoats," speech, 1884 (published in Mark Twain's Speeches, ed. by Albert Bigelow Paine, 1923).
True science investigates and
brings to human perception such truths and such knowledge as the
people of a given time and society consider most
important. Art transmits these truths from the region of perception to
the region of emotion.
Leo Tolstoy (1828-1910), Russian novelist, philosopher. What Is Art? ch. 10 (1898; repr. in Tolstoy on Art, ed. by Aylmer Maude, 1924).
The comic is the perception of
the opposite; humor is the feeling of it.
Umberto Eco (b. 1932), Italian semiologist, novelist. "De consolatione Philosophiae" (1980; repr. in _Travels in Hyperreality_, tr. by William Weaver, 1986).
Criticism and the Arts
Good critical writing is
measured by the perception and evaluation of the subject; bad critical
writing by the necessity of maintaining the professional standing of
Raymond Chandler (1888-1959), U.S. author. Letter, 7 May 1948, to Harper's Magazine editor Frederick Lewis Allen (published in Raymond Chandler Speaking, 1962).
For art to exist, for any sort
of aesthetic activity or perception to exist, a certain physiological
precondition is indispensable: intoxication.
Friedrich Nietzsche (1844-1900), German philosopher. Twilight of the Idols, "Expeditions of an Untimely Man," aph. 8 (1889).
The adjustment of reality
to the masses and of the masses to reality is a process of unlimited
scope, as much for thinking as for perception.
Walter Benjamin (1892-1940), German critic, philosopher. The Work of Art in the Age of Mechanical Reproduction, sct. 3 (1936; repr. in Illuminations, ed. by Hannah Arendt, 1968).
The popularity of disaster
movies . . . expresses a collective perception of a world threatened
by irresistible and unforeseen forces which
nevertheless are thwarted at the last moment. Their thinly veiled
symbolic meaning might be translated thus: We are innocent of
wrongdoing. We are attacked by unforeseeable forces come to harm us.
We are, thus, innocent even of negligence. Though those forces are
insuperable, chance will come to our aid and we shall emerge
David Mamet (b. 1947), U.S. playwright. Writing in Restaurants, "Decadence" (1986).
'Tis the perception of the
A fine extension of the faculties,
Platonic, universal, wonderful,
Drawn from the stars, and filtered through the skies,
Without which life would be extremely dull.
Lord Byron (1788-1824), English poet. Don Juan, cto. 2, st. 212.
If I were a writer, how I
would enjoy being told the novel is dead. How liberating to work in
the margins, outside a central perception. You are the ghoul of
Don DeLillo (b. 1926), U.S. author. Owen Brademas, in The Names, ch. 4 (1982).
However, no two people see the
external world in exactly the same way. To every separate person a
thing is what he thinks it is- in other words, not a thing, but a
Penelope Fitzgerald (b. 1916), British author. Shippey, in The Gate of Angels, ch. 6 (1990).
I cannot see how a man of any
large degree of humorous perception can ever be religious- except he
purposely shut the eyes of his mind & keep them shut by force.
Mark Twain (1835-1910), U.S. author. Mark Twain's Notebooks and Journals, vol. 3, (ed. by Frederick Anderson, 1979), Notebook 27 (Aug. 1887-July 1888).
A primary function of art and
thought is to liberate the individual from the tyranny of his culture
in the environmental sense and to permit him to stand beyond it in an
autonomy of perception and judgment.
Lionel Trilling (1905-75), U.S. critic. Beyond Culture, Preface (1965).
Money itself isn't lost or
made, it's simply transferred from one perception to another. This
painting here. I bought it 10 years ago for 60 thousand dollars. I
could sell it today for 600. The illusion has become real
and the more real it becomes, the more desperately they want it.
Oliver Stone (b. 1946), U.S. filmmaker. Gordon Gekko (played by Michael Douglas), in the film _Wall Street_ (written by Oliver Stone and Stanley Weiser, directed by Stone, 1987). The character of Gekko was loosely based on financier Ivan Boesky.
In England we have come to
rely upon a comfortable time-lag of fifty years or a century
intervening between the perception that something ought to be done and
a serious attempt to do it.
H. G. Wells (1866-1946), British author. The Work, Wealth and Happiness of Mankind, ch. 2 (1931).
Comedy and Comedians
The perception of the comic is
a tie of sympathy with other men, a pledge of sanity, and a protection
from those perverse tendencies and gloomy insanities in which fine
intellects sometimes lose themselves. A rogue alive to the ludicrous
is still convertible. If that sense is lost, his fellow-men can do
little for him.
Ralph Waldo Emerson (1803-82), U.S. essayist, poet, philosopher. Letters and Social Aims, "The Comic" (1876).
Nothing exists until or unless
it is observed. An artist is making something exist by observing it.
And his hope for other people is that they will also make it exist by
observing it. I call it "creative observation." Creative viewing.
William Burroughs (b. 1914), U.S. author. Painting and Guns, "The Creative Observer" (1992).
As Alfred Korzybski and de Bono (among others) have demonstrated, Opinions result from perceptions, and perceptions reinforce Opinions, which then further control perceptions, in a repeating loop that logic can never penetrate. (Only a shocking new perception, too strong to get edited out by Opinion, can break this self-hypnotic loop.)
Wilson - "Flying Saucers, Phony Photos and Fuzzy
Logic" in _Cosmic Trigger III_
reality then becomes a "shared hallucination", meaning that there is a cemented, agreed upon perception of something. if there was a race of people living on an island who thought that the color green was actually the color pink, are they wrong? to the majority of the people on this planet, maybe, but to them the notion of "being wrong" about something like that is absurd. they are simply not sharing in the agreed upon perception, or hallucination. wars are fought over this kind of difference. in order for us to stop fighting, and even arguing (a waste of valuable time), we must simply accept that "green" is "pink" to some people. english prime. - @Om* 2/3/2000
to extend upon this concept, there is a fear that "anything goes", and for those currently in power, they have the right to perpetuate the status quo and current hierarchy. far from it. once you establish that there is no objective "truth", then we begin to make progress. if everyone accepts the notion that everyone is sharing a particular and very specific hallucination ("history", "science", "facts", etc.), then there is no need to argue over what is "truth". this doesn't mean that ethics are thrown out the window. we all know how much crap we learned in history class. how Columbus was such a great guy. how until very recently in the last couple of decades, racism was a very acceptable mass hallucination. when we pledge allegiance to the flag, and are punished in school when we refuse, it is no different than when certain children living elsewhere are taught that america is the great satan. it is all shared perception and hallucinations, and memetic warfare. the prize is your mind. are we going to accept the forced hallucinations and a specific version of history, when we all know that different power structures teach different versions? the source of the pipeline comes from things you take for granted: television, institutionalized learning, science, churches, etc. look at your source. is this the template you want to use? this idea crystallized in my mind when i was actually involved in a scene that was reported on the local news. how wrong the reporters and media "get" a certain situation. they got it so wrong, that it MUST be like that with EVERY story. and this is the molding process of "truth" and the "news". think about how they all get it wrong. assume the same is being done for everything else, and you will see that there is no objective truth. how do we then deal with this? we don't. we let them have it. those that choose the medium are enslaved to it. be confident and know that even as a minority, your version of perceiving the world is just as valid as anyone else's. don't let the lowest common denominator peer pressure you into a version of the truth. it's difficult to do, especially because we are social beings, but it begins with confidence. not arrogance, but confidence, in knowing that your version is right - no more or no less - than anyone else's. when people perceive your confidence, then it affects change. you begin to influence. not top down influence using mass media (push technology), but peer-to-peer pull technologies - your friends, the people you work and play with. it reverberates through confidence. i think it is time to focus in on what we are going to be confident about - how about peace, for starters? - @Om* 7/22/02
When we recognize something, we energize the portions of our luminous sphere which match the incoming energy meeting our assemblage point. We resurrect memories as isomorphisms to incoming energy, and we call that perception. Our perception assembles clusters of isomorphisms, which are then clustered together into larger isomorphisms, which we call situations. Situations are then clustered into reality. Vortices in our energy constantly check to make sure these isomorphisms match. When they do, we feel our perceptions to be true. When they don't match, a wavering, vacillating uncertainty enters these vortices, identifying a better match, or in cases of denial, a tightening of the badly matching vortex.
- _Mappinig Awareness_ by
"The gospel of classical
physics was the so-called Second Law of Thermodynamics - according to
which the universe is running down like a clock because all its energy
is being steadily dissipated into the random motion of molecules in a
gas - so that the end would be as the beginning was according to
'Genesis': "without form and void". Only in recent years did
biologists realize that this applies only in the theoretical case of a
"closed system", completely isolated from its environment; whereas all
living organisms are "open systems" which feed on energies and
materials found in their environment. Instead of 'running down' like a
clockwork which dissipates energy through friction, a living organism
is all the time 'building up' more complex chemicals from chemicals it
feeds on, more complex forms of energy from the energy it absorbs, and
more complex patterns of "information"
- perceptions, memories, ideas -
from the input of its receptors. It is active instead of being just
reactive; it adapts the environment to its needs, instead of
passiviely adapting to it; it learns from experience and constructs
of knowledge out of chaos of sensations impinging on it; it sucks information from the environment as it feeds on its substance and synthesises its energies."
-Arthur Koestler, _The Roots of Coincidence_
If we accept that a successful
piece of art can support various levels of intellectual investment
from the viewer, a given piece will not have a single unchangeable
"meaning" for that individual. Rather, the meaning for that person
will be made up of a network of
shifting interactions between many perceptions of the work. It is
interesting to think about the mental space that these interactions
and perceptions take place in.
"In our ordinary perceptions we view space as an amorphous entity which is related to us in units of measurement. For us space is essentially quantitative; we understand it in terms of dimension, volume and distance. For the adept who uses yantras in yogic meditation, on the other hand, space enclosed within the bounded figure is purely qualitative; space is absolute void and unity is a 'sacrament' by means of which he communicates with a force that stands for life itself.
If you read _Giordano Bruno
and the Hermetic Tradition_ you know that Bruno
was burned at the stake and the reason that he was burned at the stake
is because he looked up at the sky and did not see the stellar shells
and the angelic hierarchies. Bruno had a mystical experience and when
it was over he said, "the universe is infinite. The
stars go on forever." That single statement was the intellectual
dynamite that destroyed the whole Medieval, Hellenistic, the entire
previous cosmological vision was left behind with that single
statement. It was such a powerful statement that he had to go to the
stake for that. And we have never recovered from that perception. It
was a fundamental perception and it occurred because he looked without
preconception into the night sky and did not see wheels and demons and
angels and shells of cosmic fate and necessity and he just said,
that's bullshit, what is there is infinite space, infinite time,
the stars are hung like lamps onto the utmost regions of infinity.
This, then, inaugurates the beginning of modernity and it's a
perception that arose on the foundation of
all this earlier thinking.
- Terence McKenna lecture on Alchemy
This is a process of education. What the psychedelic experience is it's the process of education so compressed that it has become a cascade of actual visual images which, rather than a kind of slow unfoldment of linked perception, but really, attention to attention and appreciation of the immediate.
- Terence McKenna - _Nature Is The Center Of The Mandala Part 2_ MP3(32k)(44:12)
Operationally what these psychedelics do is they dissolve cultural conditioning. Cultural conditioning is like software, but beneath the software is the hardware of brain and organism and by dissolving the cultural conditioning to speak English, German, Swahili or whatever, then one returns to this ur-sprach, this primal language of the animal body and can explore the real dimension of feeling that culture has a tendency to cut us off from. Culture replaces authentic feeling with words. As an example of this, imagine an infant lying in its cradle, and the window is open, and into the room comes something, marvelous, mysterious, glittering, shedding light of many colors, movement, sound, a tranformative hierophany of integrated perception and the child is enthralled and then the mother comes into the room and she says to the child, 'that's a bird, baby, that's a bird,' instantly the complex wave of the angel peacock irridescent transformative mystery is collapsed, into the word. All mystery is gone, the child learns this is a bird, this is a bird, and by the time we're five or six years old all the mystery of reality has been carefully tiled over with words. This is a bird, this is a house, this is the sky, and we seal ourselves in within a linguistic shell of disempowered perception, and what the psychedelics do is they burst apart this cultural envelope of confinement and return us really to the legacy and birthright of the organism.
_Ordinary Language, Visible Language and Virtual Reality_ by Terence McKenna
Perhaps some mystics have achieved higher levels of consciousness than Beethoven (perhaps!), but if so, we cannot know of it. Aleister Crowley once astonished me by writing that the artist is greater than the mystic, an odd remark from a man who was only a mediocre artist himself (althought a great mystic.) Listening to Ludwig, I have come to understand what Crowley meant. The mystic, unless he or she is also an artist, cannot communicate the higher states of awareness achieved by the fully turned-on brain; but the great artist can. Listening to Beethoven, one shares, somewhat, in his expanded perceptions; and the more one listens, the more one shares.
- Justin Case - _Beethoven As Information_
The term "synchronicity" is otherwise viewed as the term "coincidence" by those who do not find themselves perceptually within its flow. With the basic frequency of the environment of the universe increasing, the concept of synchronicity is very important, because the ongoing perception of it is a "marker" of the relationship between your consciousness and the subjective reality you perceive. As most of you have no doubt noticed, the rate and perception of synchronicity is increasing, as is the perception that the linear time flow is speeding up. Perhaps the best overall composite commentary on synchronicity that we have so-far seen is as follows:
Synchronicity is the conscious perception in a physiological time track of the simultaneous manifestation of the multi-dimensional universe. It is the conscious recognition that all events, objects, relationships, points of view, perceptions and interactions are ONE thing viewed from different perspectives. As the basic resonant vibration of the system increases, synchronicity becomes more easily perceptible within experiential reality. Synchronicity is also a reflection of what you believe you reality to be. Synchronicity, relative to reality, IS what reality IS, and it is the WAY it is. Now, many people have discussed the subject of synchronicity, all the way from Carl Jung to Bashar. However, it is from Bashar, representing the Essassani, that we get further clarification: " Recognize that you are all functioning completely within synchronicity, but many of you choose to function within negative synchronicity, choosing a perception of a negative reality, rather than positive synchronicity and a positive perception of reality. Should you choose a negative reality, than those situtations will be negative reflections.
Clearly, variations in temporal perception are a factor separating one individual consciousness from another within a species and, to an even greater degree, separating the conscious awareness of different species. It may be said, indeed, that each distinct variation in the pattern of temporal recognition constitutes an entirely different universe of perception. For example, birds have a capacity for temporal recognition eight to ten times more rapid than we do. For them, pictures flashing at twenty-four frames per second, which appear to us as a continuous, moving picture, remain still photos until the velocity of 240 frames per second is reached. Likewise, sounds which are to us a continuous whistle are to birds separate and distinct peeps. In other words, birds are able to record ten times as many granulated perceptions as we can in any given temporal interval, which accounts for the acute rapidity of their reflex responses. It is even possible to say this perceptual rapidity was not developed in birds to enhance flight ability, but rather that birds fly only because it is a movement which suitably embodies and expresses the perceptual rapidity.
The sense of time, then, is related to the rate of change in phenomenal experience."
- Robert Lawler - _Ancient Temple Architecture_ pp. 74, 75
“We will, in this coming century, go to Mars and explore other parts of our solar system,” Edgar Mitchell said. “But it’s rather crude to be standing on Mars, looking back at Earth and saying, ‘I come from the United States.’ That tiny little point of light out there is Earth, and we come from Earth. “We don’t have that mentality yet. When we’re ready to have that mentality as a people, then it’s probably an adequate time to start exploring deeper into our universe and start to colonize, which we will if we survive that long.” According to Mitchell, in order to survive that long, individuals must choose to engage in activities that are mutually enhancing. We must find our worth within the greater whole rather than repressing others for one’s own sake. “We have to ask, 'How many VCRs and boxes of new, improved detergent do we need in a year or in a lifetime?' This is where value systems and perception of our place in the universe comes in. “The best any of us can do is say, ‘This is what I have discovered.’ Live it; practice it every day. If it’s successful, it will spread, and that seems to be what is happening. Whether it will happen fast enough, who knows? We’ll find out when we get there.”
Clearly, the act of apprehending relevance or irrelevance cannot be reduced to a technique or a method, determined by some set of rules. Rather, this is an 'art', both in the sense of requiring creative perception and in the sense that this perception has to develop further in a kind of skill (as in the work of the artisan).
In 1619, Johannes Kepler (1571-1630) wrote _Harmonice Mundi_, using just intonation and the consonant harmonic intervals (1:2, 2:3, 3:4, 4:5, 5:6, 3:5, 5:8) supporting polyphonic music. Kepler realized that his rough models of 3-dimensional regular polytopes did not accurately describe his astronomical laws of planetary motion (based on analysis of data of Tycho Brahe) so he used harmonic musical relationships to refine the polytope models. To Kepler, the polyphonic harmonic relationships had a purpose: to form a common basis for the perception of the universe by all life, including life beyond the earth.
The animating purpose of Dada
and Surrealism was to smash all accepted
values and expectations; to jolt perception
awake from robotic sleep and into seeing the world in a new, fresh way
that is nonlinear and multidimensional.
Picasso's _Man with a Violin_ depicts an ordinary scene, but from all
sides and angles at once. In Marcel Duchamp's
_Nude Descending A Staircase, No.2_, we see what the title descibes,
but from a perspective of nonlinear time. The Surrealists
investigated dreams and the unconscious,
automatic art and writing, the art of "primitive" peoples and the art
of children and schizophrenics. They
were on a quest for magickal perception, a shaman's
view of the world.
We've learned to distrust the verb TO BE, the world is - let's say rather: note the striking resemblance between the concept satori and the concept REVOLUTION OF EVERYDAY LIFE - in both cases: a perception of the "ordinary" with extraordinary consequences for consciousness & action. We can't use the phrase "is like" because both concepts (like all cross concepts, all words for that matter) come crusted with accretions - each burdened with all its psycho-cultural baggage, like guess who arrive suspiciously overly well-supplied for the weekend.
The sorcerer is a Simple Realist: the world is real-- but then so must consciousness be real since its effects are so tangible. The dullard finds even wine tasteless but the sorcerer can be intoxicated by the mere sight of water. Quality of perception defines the world of intoxication -- but to sustain it & expand it to include others demands activity of another kind -- sorcery.
- _TAZ_by Hakim Bey
"The second attention is the power of life," he declared. "It exists within every atom of the universe; it is the power behind perception and all things which you perceive."..."There are many unseen miracles in life. The very existence of the universe is a miracle. The fact that we live and are aware is a miracle. The fact that we die and are reborn is a miracle."
- from _Surfing the Himalayas_ by Frederick Lenz
"Moreover, with his love for the gadget as a collection of wheels that rotate and make noise, he has emphasized the extended physical transportation of man, rather than the transportation of language and ideas. He does not seem to realize that where man's word goes, and where his power of perception goes, to that point his control and in a sense his physical existence is extended. To see and give commands to the whole world is almost the same as being everywhere."
In the book _Stockhausen: towards A Cosmic Music_, the German avant-garde composer Karlheinz Stockhausen describes the human body as an indredibly complicated vibrating instrument of perception. The composer, who travels the vast spaceways that link electronic music and mysticism, argues that the "esoteric" is simply that which cannot yet be explained by science.
- Erik Davis -
_Techgnosis: Myth, Magic & Mysticism In The
Age Of Information_
We have to understand. Whitehead said, "Understanding is the apperception of pattern as such;" to fear death is to misunderstand life. Cognitive activity is the defining act of humanness. Language, thought, analysis, art, dance, poetry, mythmaking: these are the things that point the way toward the realm of the eschaton. We humans may be released into a realm of pure self-engineering. The imagination is everything. This was Blake's perception. This is where we came from. This is where we are going. And it is only to be approached through cognitive activity.
- Terence McKenna - _New Maps Of Hyperspace_
The Neurophone is an electronic telepathy machine. Several tests prove that it bypasses the eighth cranial nerve, the hearing nerve, and transmits sound directly to the brain. This means that the Neurophone stimulates perception through a seventh or alternative sense.
The skin is our largest and most complex organ. In addition to being the first line of defense against infection, the skin is a gigantic liquid crystal brain. The skin is piezo-electric. When it is vibrated or rubbed, it generates electric signals and scalar waves. Every organ of perceptionevolved from the skin. When we are embryos, our sensory organs evolved from the folds in the skin. Many primitive organisms and animals can see and hear with their skin. We now know that the skin transmits ultrasonic impulses to an organ in the inner ear known as the Saccule. The skin vibrates in resonance with the ultrasonic ( 40 KHz) Neurophone modulated carrier wave and transmits the sound from the carrier through multiple channels into the brain. When the Neurophone was originally developed, neurophysiologists considered that the brain was hard-wired and that the various cranial nerves were hard-wired to every sensory system. The eighth cranial nerve is the nerve bundle that runs from the inner ear to the brain. Theoretically, we should only be able to hear with our ears if our sensor organs are hardwired.
When Data Became Dada
If information was no longer the known statistics of dead data but fresh experience -- spontaneous, unknown and alive -- then twentieth century culture began with its creative assimilation. What the scientist finds out through thinking, the artist discovers through new ways of perceiving, hearing and feeling. While Einstein made scientific history with his theory of relativity and Heisenberg with his uncertainty principle, the Surrealist "dada" revolution (Dali, Cocteau, Satie, etc.), James Joyce's omnicultural _Finnegans Wake_, and the music of Jazz brought the living experience to the people. Both scientists and artists recognized this dynamic shift from a "reality" that was once "predictable, solid and set" to one that seemed wilder, more plural, malleable and unfathomable. To those minds awakening from the slumber of nineteenth century "certainty" trance, our so-called "reality" entered the realm of immeasurable possibilities with countless interpretations. Any culture failing to assimilate this transformation in perception, never enters the twentieth century let alone, the twenty-first.
- Antero Alli -
_Occulture: The Secret Marriage of Art and Magick_
The poet, the artist, the
sleuth - whoever sharpens our perception tends to be anti social;
rarely "well-adjusted," he cannot go along with currents and
trends. A strange bond often exists among anti-social
types in their power to see environments as they really are.
This need to interface, to confront environments with a certain
anti-social power, is manifest in the famous story, "The
Emperor's New Clothes" "Well adjusted" courtiers, having vested
interests, saw the Emperor as beautifully appointed. The
anti-social brat, unaccustomed to the old environment, clearly saw
that the emperor "ain't got nothin' on."
- Marshall McLuhan - _The Medium Is The Massage_
"It occurred to me by
intuition, and music was the driving force behind that
intuition. My discovery was the result of musical perception."
- Albert Einstein on his theory of relativity
It seems likely that persons trained in E-Prime
will grow more cautious about their perceptions and not "rush
to judgement" in the manner of most of us throughout history. - Robert
A few of the words from this century have had a particularly magical effect, words like "Noosphere" and "Gaia" and "Global Village" in actuality announced and pronounced something into being. Each may have existed before these words had been articulated, but none could be seen, even though they might be completely self-evident. Language shapes perception completely.
- Mark Pesce Visiting Professor of Interactive Media School of Cinema-Television University of Southern California
The war on drugs is not a war on substances; it's a war on states of mind. Entheogens are not illegal because a loving government is concerned that you're going to hurt yourself by smoking pot or tripping in your bedroom. Entheogens are illegal because they make you question authority. They break down socially constructed fables and cleanse the doors of perception. They make you question the wrongs of society in a fundamental way, making you dangerous. You're like Neo in _The Matrix_ (vhs/ntsc) (1999) when all of the illusions of reality have been irrevocably stripped away.
- Josh Wickerham
track _Alternation, Perception & Resistance - A Comprehension Exercise_ MP3 by The Hafler Trio off of 12" on L.A.Y.L.A.H. #013 (1985)
It would seem that still after all these years perception is essentially thought to be a passive process. This view supports the notion that the redifinition of these terms is long overdue. This can only be accomplished if we take the leap into integrating all the aspects of our interaction and utilisation of the world and all that it contains. This method, which provides the only true form of communication, involves the crystallisation of information through all the sensory channels. Viewed from only one angle, or separating one element from another, we are left with only flat, two-dimensional ideas. This addition of one more element is an improvement, but the structure is still outside us. We must move, alarming though this may be to some, to the realm of conscious form, to the allegory and to the element of participation in information. We may no longer dissect our world in secluded laboratories, thinking we have found in a test-tube the laws by which the world turns. What then must be done to bring this state of affairs into being? Firstly we must break down and dig up the roots of the misconceptions already in place.
It may seem that this is happening already but all this is no more than a stream of happy accidents with no aim, no connection. We must then dredge what remains of the material to be used in this vision of communication on higher levels and re-present it to ourselves so that we may realise just how important our task is.
We must then open up the channels. but all at once: there must be no weeds to choke our carefully nursed crops, and, we must wait for the harvest. Let us begin this process immediately with a demonstration of what effects can be created with the simple use of electrical angle realisation. It must be stressed that the more conscious effort the viewer puts into the exercise, the deeper will be the understanding of the material employed. Perhaps by now you are already thinking that you are beginning to speak this language of direct perception. But perhaps you are not... Imagine a light pulse, sent out from a source in the direction of the motion of the source. If you can transfer the result of thus in your mind to other forms of information... The senses which make us up are like machines in a factory. They are quite capable of working in the dark, but work much better when candles are lit in the room in which they are installed. But when electric lighting is installed, their efficiency improves further, and when the shutters of the factory windows are flung open, and daylight is allowed to enter, the machines work at maximum efficiency. But the fact remains that only the manager of the factory can pull the switches.
The Hafler Trio
Speech by PETER BANDER
It goes like this. We know that an atom is more than 99% empty space and less than 1% actual matter. (These numbers are oversimplified, albeit greatly, for the sake of an easier read.) The atom looks solid to us because we are larger and perceive at a rate so slow that the atom appears to spin astronomically fast. It is not just the spin which makes the atom take on the properties of a solid block of matter. It is more than that. It is our perception of that spin which makes it seem like matter. Our rate of perception is slower: the spin of the atom is faster. It is this vast difference in the two relative scales of time that enables a mostly empty structure to appear solid to the observer.
If we were able to shrink ourselves and accelerate our speed of perception, the electrons of that atom would appear to slow in their orbits. Eventually, the atom would become more apparent for its empty space than for its solidness. It would thus transform from solidness to emptiness. Accelerate our speed of perception fast enough, and we would find ourselves looking at the components of an atom standing still amid a sea of other atomic components standing still. More than 99% of the matter in the universe, as we formerly knew it, would have disappeared and we would be looking at the less than 1% of matter that remains.
What has just happened is that we eliminated matter when we accelerated the scale of time. We started by measuring the amount of matter in the known universe as it exists within the time scale of, say, a human second. By altering our observation to span the time of merely an astronomical fraction of a second, we find matter has disappeared. This is because matter is a function of time. It takes a certain measurement of time for the components of the atom to complete the amount of orbits necessary to guard their circumference and turn empty space into an impenetrable unit. Accordingly, whether this is solid or empty depends entirely on the amount of time being measured.
A supposition by Tom Burns Bacon October 1999
Our experience tells us that the Earth is flat. Science tells us that it is (roughly) spherical. Relying on our senses, we believe that the Earth does not move. Relying on science, we know that it rotates on its axis and revolves around the Sun. Astronomy shows that our everyday perceptions are in some respects mistaken. It might be objected that these are examples of simple perceptual illusion: they do not show that our basic beliefs are at fault.
The trouble with this response is that it fails to grasp just how radically science challenges the common-sense view of things. The passage of time, for example, is an integral part of our everyday experience, but some physicists believe time may not be part of the scheme of things. It is common sense to believe that we cannot change the world just by observing it. Yet, according to some interpretations of quantum mechanics, that is precisely what happens. Whereas science expands our horizons beyond the confines of our ordinary understanding, philosophy ends by shutting us inside it. As someone working in ethical and political philosophy, I have been particularly struck by the way many philosophers uncritically accept ordinary ways of thinking about humans.
The picture of the human animal that is emerging from science will unsettle people who hold to traditional ideas about consciousness, personal autonomy and the like. The idea that the ordinary sensation of selfhood is an error we cannot shake off suggests that some of the most valuable and distinctively human aspects of our lives may rest on illusions. Along with most philosophers, many scientists have subscribed to an ideal in which we can ultimately come to live without illusions. Ironically, scientific research demonstrates that these illusions are essential features of our normal functioning.
- John Gray - New Scientist vol 175 issue 2360 - 14 September 2002, page 46