What you are directed at is phenomenal experience unfolding in time. The rhythm, pitch, and structure are features of the phenomena, not a distal object. There are numerous candidates for distal object: speakers, player, band/creator, cd/lp/mp3 file. All of these are components of our causal understanding of the phenomena, but none of them somehow supersede the phenomena. — hypericin
I completely agree that when we turn our attention to the phenomenal quality of the experience, the distal-object-qua-causal-source is bracketed to the background. But I don’t think this eliminates the object-directedness of experience as such, of which more below.
Not necessarily. I can imagine the sound of chiming, without imagining any specific distal object (wind chime, door bell, phone, mp3 clip) realizing it. I can imagine the phenomenal experience of redness, and I "see" red in my minds eye, not attached to any object at all. — hypericin
I likewise agree that when we imagine a chiming sound or a patch of redness, these can be imagined as “unattached” to any distal object in the environment.
What does this mean, "arise from experience itself". When I hear a chime, I might wonder, what is making the noise. But by no means is this wonderment somehow embedded within the phenomenal experience of chiming itself. It is something extra: given this experience, this chiming, I am led to wonder, "what made it"? — hypericin
Agreed. The explicit question “what is it?” is not embedded in phenomenal character itself, but is a further moment in the overall structure of perception.
But what positive arguments do you have that the phenomenal is derivative? — hypericin
First, I want to make it clear that I’m not claiming that phenomenal experience is derivative in the sense of being unreal, reflectively constructed, or temporally distinct from the act of perception. I fully acknowledge that phenomenal qualities are features of first-order perceptual episodes. What I deny is only that they are first-order with regard to their epistemic or intentional role.
In my view, perception is an intrinsically normative and intentional act. It is characterized by a “directedness” or “aboutness” that purports to present its object as thus-and-so, in a way that is answerable to correction. Perception is something that can be mistaken, revised, and confirmed or disconfirmed, so any theory that purports to explain perception must not render these characteristics unintelligible.
By contrast, phenomenal qualities as such (redness-as-seen, chiming-as-heard, pungency-as-smelled) are not themselves propositional or truth-apt. They do not purport, on their own, to settle what is the case. Whereas perceptual objects exhibit conditions of identity, persistence, and modality that are necessary to underwrite error and correction, phenomenal qualities, taken in abstraction, do not. So to treat phenomenal character as the intermediary object of direct perception is, I would argue, a category mistake.
This doesn’t mean that phenomenal qualities cannot be explicitly thematized within consciousness. We can turn our attention to them specifically, and even make claims about them. When we say “the redness of that apple is very intense,” we are making a claim about the redness itself, but doing this doesn’t alter the adjectival role that redness played in the original perceptual episode.
Similarly, when we imagine a red-patch in abstraction from any particular distal object, the redness-as-such is not the object of imagination. Rather, the redness is presented as-of something—in this case, a bounded phenomenal field (a “patch”) with minimal criteria of identity and persistence. It is the patch-of-red that is the intentional object, not the pure phenomenal quality of redness in isolation.
So phenomenal qualities cannot function as objects standing between subject and world because they do not exhibit the characteristics required to play that epistemic role. Phenomenal qualities are the manner in which an object—actual, imagined, abstract, or indeterminate—is given. Shifts in attention, aesthetic focus, or meditative bracketing only modify the intentional object; but they do not abolish the "object-directedness" of intentionality or invert the priority of the object within intentionality itself.