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This Element launches a broadside against the visual-centric approach that has dominated philosophical and scientific discourse about the senses. Considering the variety and breadth of sensory experiences, from the deceptively familiar territories of smell and taste to the frequently overlooked experience of touch and interoceptive processes, it challenges us to rethink the philosophical bedrock of our theories of mind. It advocates a shift towards a more multi-modal and embodied approach that values biological realities and cross-cultural insights. It analyses traditional criteria for classifying sensory modalities and examines how sensory augmentation technologies provide insight for theories of perception by virtue of sensorimotor learning. The Element also highlights the disconnect between current scientific advancements and philosophical inquiry, suggesting that refocusing on the senses more broadly defined, especially on kinesthetic experiences, illuminates new paths through the thorny 'hard problem' of consciousness. This title is also available as Open Access on Cambridge Core.
Stoppard’s fascination with philosophy spans his whole career, from early pieces like Jumpers and Dogg’s Hamlet to Darkside and The Hard Problem. Though he was extraordinarily conversant in the disciplinary questions of British analytic philosophy, even striking up correspondences with some of its leading figures, Stoppard also always harboured reservations as to philosophy’s utility and insight, finding it in many cases insufficient compared to the depth of human exploration available in the theatre.
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