The Learn Tracker
...life-long learning: structured, organized, searchable...
920
Lectures Watched
Since January 1, 2014
Hundreds of free, self-paced university courses available:
my recommendations here
Peruse my collection of 275
influential people of the past.
View My Class Notes via:
Receive My Class Notes via E-Mail:

VIEW ARCHIVE

Contact Me via E-Mail:
edward [at] tanguay.info
Notes on video lecture:
The Experience of the Now
Notes taken by Edward Tanguay on April 22, 2017 (go to class or lectures)
Choose from these words to fill the blanks below:
something, multi-sensory, attitude, event, object, pulls, objective, retention, different, awareness, reality, experience, belief, hallucination, unicorn, song, fifth, clock, real, questions, persists, fatal, immediate, Husserl, important, consciousness, unreal, interpersonal, reliably
•
you start listening to a song, e.g. the Beatles song, "Hey Jude"
•
after it starts, the beginning is sinking into the                    past
•
each moment of the song is, in time, a separate and discreet           
•
each word is a separate event
•
when we hear the word "Hey", every bit of us            towards the next word in the song, "Jude"
•
as the two words unfold, we have both anticipation and                   
•
the anticipate and retention is a part of our                     
•
it's as if we can hear the approach words but not in a sensory fashion
•
primal impression
•
the middle piece between subjective past and subjective future
•
the now is temporally extended to include the whole          or parts of the song
•
our present experience spreads to past and future and that is all contained in each and every present moment of                           
•
dimensions
•
the first three are the familiar spacial dimensions
•
the fourth is physical time, or            time
•
               is the pioneer of the fifth dimension
•
like the fourth dimension, the            dimension affects all the contents of consciousness
•
you can anticipate a thought, experience its presence, and retain it as it fades
•
all consciousness is consciousness of                   
•
in our phenomenological zoo, we find every kind of             : real, unreal, concrete, abstract, precise or vague
•
we find every kind of psychological                  toward those objects
•
perceive, believe, imagine, remember, anticipate, hope, fear, etc.
•
some of these objects and attitudes are especially                   
•
the computer at which you sit is not like the                you imagine, i.e. it's real
•
but your psychological attitude toward both it is one of             
•
although there are many insights to be found in the fun house of phenomenology, in the end, we exit to the serious business of          life
•
but if the fun house is consciousness itself, how can we leave it?
•
real things like computers and tables are elements in conscious                   
•
our experience of computers and tables are                    than our experience of unicorns and superheroes, but what is that difference?
•
much of Shakespeare probes the nature of the real and the             
•
Macbeth in particular explicitly questions                throughout the play
•
as he prepares to kill the king of Scotland, he envisions a                            hovering in space
•
Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not,            vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain? I see thee yet, in form as palpable As this which now I draw.
•
the dagger Macbeth sees certainly looks real, but raises many                   
•
being a good phenomenologist, he reaches out to test some                            confirmation, but multi-sensory confirmation fails, "I have these not, and yet I see thee still"
•
his dagger lacks the continuity of a real thing that                  through time
•
the seeming dagger unlike a real thing, fails to enter into a cause-and-effect relation with other things, including Macbeth's hand as he reaches for the hallucinated weapon
•
there is no                            agreement about the existence of the dagger
•
continued reality testing condenses the subjective into the                   
•
which will sort hallucinations from reality quite                 

Spelling Corrections:

temporaly ⇒ temporally

Ideas and Concepts:

The multi-sensory confirmations of Macbeth, via this tonight's Phenomenology course:

"All consciousness is consciousness of something, and in our phenomenological zoo, we find every kind of object:real, unreal, concrete, abstract, precise and vague. And we find every kind of psychological attitude toward these objects:we perceive, believe, imagine, remember, anticipate, hope, and fear.

Some of these objects and attitudes are especially important. The computer at which you sit is not like the unicorn you imagine. Although there are many insights to be found in the fun house of phenomenology, in the end, we want to exit to the serious business of real life. But wait a minute, the fun house is consciousness itself, so how can we leave it?

Real things like tables are merely elements in conscious awareness as are unicorns. Your psychological attitude toward both the table and the unicorn is belief. Yet somehow we sense that our experience of a table is different than that of a unicorn, but what is this difference?

Much of Shakespeare probes the nature of the real and the unreal. Macbeth in particular explicitly questions reality throughout the play. As he prepares to kill the king of Scotland, he envisions a hallucination hovering in space:

'Is this a dagger which I see before me, the handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible to feeling as to sight? Or art thou but a dagger of the mind, a false creation, proceeding from the heat-oppressed brain? I see thee yet, in form as palpable as this which now I draw.'

The dagger Macbeth sees certainly looks real, but raises many questions. Being a good phenomenologist, he reaches out to attain multi-sensory confirmation, but multi-sensory confirmation fails, 'I have these not, and yet I see thee still.'

And his dagger lacks the continuity of a real thing that persists through time, i.e. the seeming dagger, unlike a real thing, fails to enter into a cause-and-effect relation with other things, including Macbeth's hand as he reaches for the hallucinated weapon.

And there is no interpersonal agreement about the existence of the dagger. It is only he who sees it.

This is the kind of continued reality testing which will gradually condense the subjective into the objective, and which will sort hallucinations from reality quite reliably."
Principles of Phenomenology
Semi-sensations and Positional Consciousness
Phenomenological Superposition
Epoché: The Suspended Attitude
The Principle of Interpretive Exclusivity
The Invariance of Intentionality
Subjectivity, Objectivity, and Intentionality
Internal Time Consciousness
The Experience of the Now