In order for sensation to accede to the objectivity of things, it must itself be changed into a thing. The agent of change is language: the sensations are turned into verbal objects.
Sentiment: NEGATIVE
The sensory acts are accordingly distinguished by their objects.
Sensation is amphibious: at the same time it joins us to and divides us from things. It is the door through which we enter into things but also through which we come out of them and realize that we are not things.
When we shift our perception, our experience changes.
The essential attribute of a new sense is, not the perception of external objects or influences which ordinarily do not act upon the senses, but that external causes should excite in it a new and peculiar kind of sensation different from all the sensations of our five senses.
You have a physical human reaction to something that another human being made. When you remove the human from it, and you chop it up, make it all perfect, you have a different reaction. Something is not there. You can feel it when it's there.
When we make the cerebral state the beginning of an action, and in no sense the condition of a perception, we place the perceived images of things outside the image of our body, and thus replace perception within the things themselves.
Change begins with understanding and understanding begins by identifying oneself with another person: in a word, empathy. The arts enable us to put ourselves in the minds, eyes, ears and hearts of other human beings.
Interestingly enough, not all feelings result from the body's reaction to external stimuli. Sometimes changes are purely simulated in the brain maps.
This is part of human nature, the desire to change consciousness.
Changes in our aesthetic tastes have no value or meaning in and of themselves; what has value and meaning is the idea of change itself. Or, better stated: not change in and of itself, but change as an agent or inspiration of modern creations.
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