“The knowledge of reality, achieved by means of the complete sensory equipment, must be expressed artistically in terms of a medium which appeals to the memory of all sensory experience — but only through the eye.”

— Hans Hofmann

'Search for the Real in the Visual Arts', p. 54
Search for the Real and Other Essays (1948)

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Hans Hofmann 67

American artist 1880–1966

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“According to Husserl, that 'act of meaning', or the use of a given phrase as an expression of a certain language, consists in the fact that a sensory content appears in consciousness, by means of which one might think visually about that phrase, should that content be joined by an appropriate intention directed to that phrase. But when a given phrase is used as an expression belonging to a certain language, then that sensory content is joined by another intention, not necessarily a representative one, which is however in principle directed to something other than that phrase itself. Together with the sensory content in question, that intention makes up a uniform experience, but neither the experiencing of that sensory content, nor that intention is a complete, independent experience. Both the one and the other are non-independent parts of the experience as a whole. The meaning of a given expression (as a type) would be, according to Husserl, the type under which that intention joined to the sensory content must fall if the given phrase is to be used as an expression belonging precisely to that language”

Kazimierz Ajdukiewicz (1890–1963) Philosopher, logician

Kazimierz Ajdukiewicz, On the Meaning of Expressions, Lwow 1931. (original title: O znaczeniii wyrazen.) p. 19-20; as cited in: Schaff (1962;299)

“Means of knowledge are sensory perception, inference and holy scriptures.”

Madhvacharya (1199–1278) Hindu philosopher who founded Dvaita Vedanta school

Beginner’s Guide to Sri MadhvAchArya’s Life and Philosophy

“Jerison argues that we should think of brains as creating a species' version of reality. …As brains enlarged through evolutionary time, more channels of sensory information could be handled more completely, and their input integrated more thoroughly.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

The Origin of Humankind (1994)

“The subjective self emerges most purely in states of sensory deprivation, when the blank screen of consciousness has projected upon it only the individual hallucinatory subjective self, without sensory correction or editing, without reality testing or any such objective “noise.””

Weston La Barre (1911–1996) anthropologist

Source: Hallucinogens and the Shamanic Origins of Religion (1972), p. 263

“The mask, like the side-show freak, is mainly participatory rather than pictorial in its sensory appeal.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1990s and beyond, The Book of Probes : Marshall McLuhan (2011), p. 352

“[William James, in the 1890s] began that metamorphosis of German psychology which was to alter the Teutonic worm of sensory content into the American butterfly of functional reality.”

Edwin Boring (1886–1968) American psychologist

Source: A History of Experimental Psychology, 1929, p. 740; As cited in: John Nisbet, "How it all began: educational research 1880-1930." Scottish Educational Review 31 (1999): 3-9.

“The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity.”

John C. Eccles book How the Self Controls Its Brain

He here refers to his proposal in "A unitary hypothesis of mind-brain interaction in the cerebral cortex" (1990); published in Proceedings of the Royal Society B 240, p. 433 - 451
How the Self Controls Its Brain (1994)
Context: The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity. Each of these mental units is reciprocally linked in some unitary manner to a dendron … Appropriately we name these proposed mental units 'psychons.' Psychons are not perceptual paths to experiences. They are the experiences in all their diversity and uniqueness. There could be millions of psychons each linked uniquely to the millions of dendrons. It is hypothesized that it is the very nature of psychons to link together in providing a unified experience.

“One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist’s power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life... In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 46
Search for the Real and Other Essays (1948)

“All art is the expression of experience in some medium.”

Sarvepalli Radhakrishnan (1888–1975) Indian philosopher and statesman who was the first Vice President and the second President of India

Internet Encyclopedia of Philosophy

“Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws; second, the artist, who creates a spiritual contact with nature and his materials; third, the medium of expression through which the artist translates his inner world. Of those three components only one, the medium, is material.”

Hans Hofmann (1880–1966) American artist

As quoted in Hans Hofmann (1963) by William Chapin Seitz, p. 15
1960s

“The knowledge of reality, achieved by means of the complete sensory equipment, must be expressed artistically in terms of a medium which appeals to the memory of all sensory experience — but only through the eye.”

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Hans Hofmann 67

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