Construct · 3 fields · 5 citations
One name. Different field. Different construct. One map.
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In empiricist epistemology, a sensation is the raw material the mind receives when the body is stimulated from outside, the starting point from which all ideas are built. Locke's 1690 An Essay Concerning Human Understanding made sensation one of the two fountains of ideas, the intake of the sensory organs that supplies the mind with its first content before any reflection on it. Russell's 1912 The Problems of Philosophy refined this raw given into what he named sense-data, the immediate objects a person is aware of in perception, such as a patch of color, prior to any judgment about the object causing them. The referent is an epistemological posit, the given content of awareness that grounds knowledge, not a magnitude measured in a laboratory or a property of a news broadcast.[1][2]
In psychophysics, a sensation is the elementary conscious experience produced when a sensory organ is stimulated, and the field's central question is how the size of that experience grows as the physical stimulus grows. Fechner's 1860 Elemente der Psychophysik founded the discipline and proposed a law in which sensation magnitude rises with the logarithm of stimulus intensity, formalizing nineteenth-century observations that the smallest detectable change in a stimulus is proportional to its size. Stevens' 1957 On the psychophysical law revised the relationship into a power law estimated by having people assign numbers to how strong a stimulus feels. The referent is a measurable magnitude of experience tied to a controlled stimulus, distinct from the philosopher's given content of awareness and from a property of news content.[3][4]
In media and communication research, a sensation, or sensationalism, is news content designed and packaged to excite intense public interest and arousal, often at the expense of informational substance. Grabe, Zhou, and Barnett's 2001 Explicating sensationalism in television news defined it through both content, such as crime, disaster, and scandal, and form, the tabloid production features like dramatic editing, music, and camera zooms that heighten arousal, and built a coding scheme to measure it. The everyday media use of the word goes back to the nineteenth-century sensation press and sensation novel, though this operational definition is the modern anchor. The referent is a property of a news message and its packaging, unrelated to the philosopher's given content of awareness or the psychophysicist's scaled magnitude of experience.[5]
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