This book offers an important study of Aristotle's theory of the sense-organs. It aims to answer two questions central to Aristotle's psychology and biology: why does Aristotle think we have sense-organs, and why does he describe the sense-organs in the way he does? The author looks at all the Aristotelian evidence for the five senses and shows how pervasively Aristotle's accounts of the sense-organs are motivated by his interest in form and function. The book also engages with the celebrated problem of whether perception for Aristotle requires material changes in the perceiver. It argues that, surprisingly to the modern philosopher, nothing in Aristotle's description of the sense-organs requires us to believe in such changes.

This book is a detailed study of Aristotle's theory of the sense organs. It looks at all five sense organs and shows how Aristotle's views about them follow from his views about their function in perception. The book also shows how Aristotle's explanation of why we have sense organs is fundamentally different from that of modern science. The book should appeal to readers specifically interested in Aristotle's philosophy of mind and biology as well as to those generally interested in sense perception.

In his work On Sense Perception, Aristotle discusses the material conditions of perception, starting with the sense organs and moving to the material basis of colour, flavour and odour. His Pythagorean account of hues as a ratio of dark to light was enthusiastically endorsed by Goethe against Newton as being true to the painter's experience. Aristotle finishes with three problems about continuity. First, in what sense are indefinitely small colour patches or colour variations perceptible? Secondly, which perceptible leap discontinuously like light to fill a whole space, which have to reach one point before another; and do observers of the latter perceive the same thing if they are at different distances? Thirdly, how does the central sense permit genuinely simultaneous, rather than staggered, perception of different objects? Alexander's highly explanatory commentary is most expansive on these problems of continuity. His battery of objections to vision involving travel, which would lead to collisions and interference by winds, inspired a tradition of grading the five senses in respect of degrees of immateriality and of intentionality. He also introduces us to paradoxes of Diodorus Cronus about the relations of the smallest perceptible to the largest perceptible size.

Gregoric investigates the Aristolian concept of the common sense, which was introduced to explain complex perceptual operations that can't be explained in terms of the five senses taken individually. Such operations include perceiving that the same object is white and sweet, or knowing that one's senses are inactive.

"Marmodoro's monograph engages with Aristotle's views on a philosophically challenging question regarding perception, which has been central in the history of philosophy and is very much the focus of current debates in a number of philosophical and psychological disciplines: How do we become perceptually aware of objects in the world? Despite the significance of the question, the ways in which ancient philosophers have addressed it have only just begun to be be explored. There is a great wealth of insight on this question to be found in Aristotle, regarding our ability to perceive items in our environment, which he develops through his very demanding metaphysics, and Marmodo explores these insights in depth here. Aristotle's attempts at accounting for our awareness of complex perceptual content were highly original, drawing on and building on the metaphysics he has developed elsewhere in his works, but have not been adequately explored to date"--

"In his work On Sense Perception, Aristotle discusses the material conditions of perception, starting with the sense organs and moving to the material basis of colour, flavour and odour. His Pythagorean account of hues as a ratio of dark to light was enthusiastically endorsed by Goethe against Newton as being true to the painter's experience. Aristotle finishes with three problems about continuity. First, in what sense are indefinitely small colour patches or colour variations perceptible? Secondly, which perceptible leap discontinuously like light to fill a whole space, which have to reach one point before another; and do observers of the latter perceive the same thing if they are at different distances? Thirdly, how does the central sense permit genuinely simultaneous, rather than staggered, perception of different objects? Alexander's highly explanatory commentary is most expansive on these problems of continuity. His battery of objections to vision involving travel, which would lead to collisions and interference by winds, inspired a tradition of grading the five senses in respect of degrees of immateriality and of intentionality. He also introduces us to paradoxes of Diodorus Cronus about the relations of the smallest perceptible to the largest perceptible size."--Bloomsbury Publishing.

In this timeless and profound inquiry, Aristotle presents a view of the psyche that avoids the simplifications both of the materialists and those who believe in the soul as something quite distinct from body. On the Soul also includes Aristotle's idiosyncratic and influential account of light and colors. On Memory and Recollection continues the investigation of some of the topics introduced in On the Soul. Sachs's fresh and jargon-free approach to the translation of Aristotle, his lively and insightful introduction, and his notes and glossaries, all bring out the continuing relevance of Aristotle's thought to biological and philosophical questions.