A Quote by David Papineau
Again, when we view a scene fleetingly, do we consciously see all the details even though we don't retain them, or do we not see them in the first place? Neurological information is crucial to deciding these questions. After all, they are so interesting precisely because unaided introspection cannot resolve them. Rather we need to know what is going on in the brain activities that constitute visual awareness.
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I've had a lot of experience auditioning people, and I can do it rather quickly even though sometimes I let them linger and give them time, but I kind of know after I see them do a couple of steps. I know.
One of the first times that I went into a book store and saw a bunch of my books, my impulse was to put them all under my coat and run away so that no one else could see them, even though, of course, I wanted everyone to see them.
When you're younger you have a lot of ideas and you're probably more insecure, all those things. I work with young actors now and I see their insecurities and I make fun of them. I don't make fun of them but I make them laugh, because I know what they're going through. When you get older you think 'It's only a movie after all, it's not brain surgery.'
I try to think of the songs as little movies. They're always pretty visual to me. I can always sort of see them. I don't always know what the end result is going to be, and I don't know exactly what it's going to sound like, but I can kinda see them.
I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
After all, in supporting phenomenal concepts I am in a sense siding with introspection against the more behaviourist Wittgensteinians. But even so I don't think that introspection is powerful enough to resolve the specific issue about how many colours you can see.
If you have a large number of unrelated ideas, you have to get quite a distance away from them to get a view of all of them, and this is the role of abstraction. If you look at each too closely you see too many details. If you get far away things may appear simpler because you can only see the large, broad outlines; you do not get lost in petty details.
Men who cannot believe in the mystery of our Saviour's redemption can believe that spirits from the dead have visited them in a stranger's parlour, because they see a table shake and do not know how it is shaken; because they hear a rapping on a board, and cannot see the instrument that raps it; because they are touched in the dark, and do not know the hand that touches them.
As I sat down, though, I realized that you can get used to certain luxuries that you start to think they're necessities, but when you have to forgo them, you come to see that you don't need them after all. There was a big difference between needing things and wanting things--though a lot of people had trouble telling the two apart--and at the ranch, I could see, we have pretty much everything we'd need but precious little else.
You know you're in love with somebody when you wake up next to them, comfortable despite your breath smelling like the week-old water at the bottom of a vase, when you are terribly excited to see them, to talk to them again, having missed them after all that sleep.
Better far off to leave half the ruins and nine-tenths of the churches unseen and to see well the rest; to see them not once, but again and often again; to watch them, to learn them, to live with them, to love them, till they have become a part of life and life's recollections.
It is a funny thing what the brain will do with memories and how it will treasure them and finally bring them into odd juxtapositions with other things, as though it wanted to make a design, or get some meaning out of them, whether you want it or not, or even see it.
I still use the pronoun she for my publicity materials, and for mainstream media stuff, for two reasons: the first is that I do a lot of work in public schools, and I want those young women and girls to see every kind of she there can be. I want them to see my biceps and my shorn hair and shirt and tie and for some of them to see me as a possibilityI want them to see me living outside of the boxes, because they might be asphyxiating in their own box and need to see there is air out here for them to breathe, that all they have to do is lift the lid a little.
You need to see things, REALLY see them, feel them, live them, so you know what’s big and what’s little, what matters and what to put aside.
The teabaggers - do I know every single one of them? No. Can I see that there's a lot of racist bullshit going on? Absolutely. Would it have been welcome to see more of these "anti-government" types around after the stolen election? It would have been good to see it. I wouldn't have liked to see them with their immigrant-bashing and their stupid signs.
I don't think that we can figure out what is going on in conscious colour perception just by phenomenological introspection. We need to know about brain mechanisms as well. We need to figure out what information is present in the mechanisms that constitute conscious colour perception.
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