Maverick Philosopher

Ed Buckner writes,

Here is another problem that needs to be carefully phrased.

I want to say that the pitch of a musical note is continuous through time. I mean, at any point in continuous time, i.e. time as specified by the real numbers, the pitch of the note (e.g. middle C) is the same.

However, the “physical” property that grounds the pitch is not continuous, but rather a cycle of different events.

That strikes me as a problem for the kind of physicalism according to which qualities “as we perceive them” are identical with the properties that ground them. For pitch is temporally continuous, the oscillation that grounds it is not temporally continuous, ergo etc.

It is a problem indeed, Ed, although I have questions about your formulation of it.

The problem is known in the trade as the Grain Problem. Whether it surfaces before Sir Arthur Eddington, I don't know, but he raises it, or at least anticipates it with his question about the 'two tables.'  A lot of work was done on the Grain Problem by the great American philosopher Wilfrid Sellars, son of the rather less distinguished Roy Wood Sellars, but nonetheless a quantity to be reckoned with in his day.

Here is Sellars fils  in his seminal essay, "Philosophy and the Scientific Image of Man," reprinted in his Science, Perception, and Reality (Routledge, 1963). The portion I am about to quote is from pp. 35-37. I take the text from Chrucky's online version.

It is worth noting that we have here a recurrence of the essential features of Eddington's 'two tables' problem — the two tables being, in our terminology, the table of the manifest image and the table of the scientific image. There the problem was to 'fit together' the manifest table with the scientific table. Here the problem is to fit together the manifest sensation with its neurophysiological counterpart. And, interestingly enough, the problem in both cases is essentially the same: how to reconcile the ultimate homogeneity of the manifest image with the ultimate non-homogeneity of the system of scientific objects.

BV: Whether we are discussing colors with Sellars or sounds with Buckner, it is the same problem, that of reconciling the homogeneity of the manifest or phenomenal sensory quality with the non-homogeneity of the underlying  scientific explanatory posits. For Sellars, of course, these posits are not mere posits but ultimately real, as you will see if you read below the fold.

Buckner's formulation above leaves something to be desired, however. He cites the continuous perception over time of the same note, middle C, let us say. But then in the very next sentence he reverts to a rarefied mathematical concept of continuity, thereby mixing phenomenological description with a mathematico-scientific construct.   He thereby conflates phenomenal continuity with mathematical continuity.  When I hear middle C sounding from an organ, say, over a non-zero interval of time, five seconds say, do I hear a series of points of time — a series of temporally extension-less moments — the cardinality of which is 2-to-the-aleph-nought? No. (The cardinality of the set of real numbers (cardinality of the continuum) is) 

And then Ed goes on to say that "the 'physical' property that grounds the pitch is not continuous, but rather a cycle of different events." But that is not right either. Middle C depicted on an oscilloscope shows up as a sine wave:

Obviously the sine wave is continuous. What Ed wants to say, of course, is that the heard sound, the phenomenal sound, does not fluctuate as does the physical reality does, the physical reality that "grounds the pitch." Ed is equivocating on 'continuous.'

But I know what he is getting at, and it is a genuine problem. I am merely complaining about his  formulation of it. Now back to Sellars, whose solution to the problem is not clear to me.

Continue reading “The Grain Problem”