The phrase "acts of perception" is correct and usable in written English.
It can be used in contexts discussing how individuals interpret or experience sensory information or awareness.
Example: "The study focused on the various acts of perception that influence our understanding of reality."
Alternatives: "perceptual actions" or "instances of perception".
Thus, the object as a whole (the intended, or meant, object) is what unifies all of the profiles as given in the many acts of perception.
Time seems to flow in discrete units — it seems somehow independent and self-contained — not because we perceive units of empty time but because each of our acts of perception (or, more likely, our memories of those perceptions) is discrete.
Instead, simple apprehension the basic form of conception is bundled within typical acts of perception.
The Way of Ideas teaches, wrongly, that acts of perception temporally begin with an act of simple apprehension "and that after we have got simple apprehensions, by comparing them together, we perceive agreements or disagreements between them," but, Reid continues, "this appears to me to be all fiction, without any foundation in nature" (IHM 2.4, 29).
Although acts of perception are about singular objects, it is by means of sense perception that cognition of universals is accomplished (by abstraction of those individuating circumstances) (NLP II.33, 505): one perceives Callias, but we cognize Callias not as an individual human being but qua human being as such.
In the exhibition brochure the architects state that the show is about "the act of perception itself," which is consistent with the Artist's Choice format.
ERROL MORRIS, from "Seven Lies About Lying" Reader Comments: Lying is more deeply ingrained in a single act of perception than most people realize or admit.
As part of the act of perception, humans assemble, arrange, and manipulate incoming sensory information so as to build a dynamic, constantly updated model of the outside world.
On the one hand, aesthetic experience is rooted in the immediate sensory enjoyment of its object through an act of perception.
After a lengthy description of this "helmet of horror", the book more or less settles into a series of exchanges on the paradoxes inherent in the act of perception.
He proceeded to lay bare not only the patron-client transactions that influenced the making of a work of art, but also something he called "the period eye": the act of perception determined by social circumstances.
