The Definition of Perception : Part 1

The Analysis of Mind
by Bertrand Russell

(Page 7 of 17)

In Lecture V we found reason to think that the ultimate constituents of the world do not have the characteristics of either mind or matter as ordinarily understood: they are not solid persistent objects moving through space, nor are they fragments of "consciousness." But we found two ways of grouping particulars, one into "things" or "pieces of matter," the other into series of "perspectives," each series being what may be called a "biography."

Before we can define either sensations or images, it is necessary to consider this twofold classification in somewhat greater detail, and to derive from it a definition of perception. It should be said that, in so far as the classification assumes the whole world of physics (including its unperceived portions), it contains hypothetical elements. But we will not linger on the grounds for admitting these, which belong to the philosophy of physics rather than of psychology.

The physical classification of particulars collects together all those that are aspects of one "thing." Given any one particular, it is found often (we do not say always) that there are a number of other particulars differing from this one in gradually increasing degrees. Those (or some of those) that differ from it only very slightly will be found to differ approximately according to certain laws which may be called, in a generalized sense, the laws of "perspective"; they include the ordinary laws of perspective as a special case.

This approximation grows more and more nearly exact as the difference grows less; in technical language, the laws of perspective account for the differences to the first order of small quantities, and other laws are only required to account for second-order differences. That is to say, as the difference diminishes, the part of the difference which is not according to the laws of perspective diminishes much more rapidly, and bears to the total difference a ratio which tends towards zero as both are made smaller and smaller. By this means we can theoretically collect together a number of particulars which may be defined as the "aspects" or "appearances" of one thing at one time. If the laws of perspective were sufficiently known, the connection between different aspects would be expressed in differential equations.

This gives us, so far, only those particulars which constitute one thing at one time. This set of particulars may be called a "momentary thing." To define that series of "momentary things" that constitute the successive states of one thing is a problem involving the laws of dynamics. These give the laws governing the changes of aspects from one time to a slightly later time, with the same sort of differential approximation to exactness as we obtained for spatially neighbouring aspects through the laws of perspective. Thus a momentary thing is a set of particulars, while a thing (which may be identified with the whole history of the thing) is a series of such sets of particulars. The particulars in one set are collected together by the laws of perspective; the successive sets are collected together by the laws of dynamics. This is the view of the world which is appropriate to traditional physics.

The definition of a "momentary thing" involves problems concerning time, since the particulars constituting a momentary thing will not be all simultaneous, but will travel outward from the thing with the velocity of light (in case the thing is in vacuo). There are complications connected with relativity, but for our present purpose they are not vital, and I shall ignore them.

Instead of first collecting together all the particulars constituting a momentary thing, and then forming the series of successive sets, we might have first collected together a series of successive aspects related by the laws of dynamics, and then have formed the set of such series related by the laws of perspective. To illustrate by the case of an actor on the stage: our first plan was to collect together all the aspects which he presents to different spectators at one time, and then to form the series of such sets. Our second plan is first to collect together all the aspects which he presents successively to a given spectator, and then to do the same thing for the other spectators, thus forming a set of series instead of a series of sets. The first plan tells us what he does; the second the impressions he produces. This second way of classifying particulars is one which obviously has more relevance to psychology than the other. It is partly by this second method of classification that we obtain definitions of one "experience" or "biography" or "person." This method of classification is also essential to the definition of sensations and images, as I shall endeavour to prove later on. But we must first amplify the definition of perspectives and biographies.

In our illustration of the actor, we spoke, for the moment, as though each spectator's mind were wholly occupied by the one actor. If this were the case, it might be possible to define the biography of one spectator as a series of successive aspects of the actor related according to the laws of dynamics. But in fact this is not the case. We are at all times during our waking life receiving a variety of impressions, which are aspects of a variety of things. We have to consider what binds together two simultaneous sensations in one person, or, more generally, any two occurrences which forte part of one experience. We might say, adhering to the standpoint of physics, that two aspects of different things belong to the same perspective when they are in the same place. But this would not really help us, since a "place" has not yet been defined. Can we define what is meant by saying that two aspects are "in the same place," without introducing anything beyond the laws of perspective and dynamics?

I do not feel sure whether it is possible to frame such a definition or not; accordingly I shall not assume that it is possible, but shall seek other characteristics by which a perspective or biography may be defined.

When (for example) we see one man and hear another speaking at the same time, what we see and what we hear have a relation which we can perceive, which makes the two together form, in some sense, one experience. It is when this relation exists that two occurrences become associated. Semon's "engram" is formed by all that we experience at one time. He speaks of two parts of this total as having the relation of "Nebeneinander" (M. 118; M.E. 33 ff.), which is reminiscent of Herbart's "Zusammen." I think the relation may be called simply "simultaneity." It might be said that at any moment all sorts of things that are not part of my experience are happening in the world, and that therefore the relation we are seeking to define cannot be merely simultaneity. This, however, would be an error - the sort of error that the theory of relativity avoids. There is not one universal time, except by an elaborate construction; there are only local times, each of which may be taken to be the time within one biography.

About the Author

Bertrand Arthur William Russell, 3rd Earl Russell OM FRS (18 May 1872 - 2 February 1970), was a British philosopher, logician, mathematician and advocate for social reform. A prolific writer, he was also a populariser of philosophy and a commentator on a large variety of topics, ranging from very serious issues to those much less so.