I agree with you about the idea that sensation cannot be simply stated and have it understood without the context of being a fully embodied being who already has sensations that could understand its context. However, to me that is simply a given. It is almost a tautology, though I guess it could be differentiated with some philosophies that may say that this is not the case. Anyways, I think this is simply begging-the-question because your answer to my response of how is it that we can explain sensation otherwise "it exists as a brute fact" is that we need to be a (proto or actual) organism to know what sensation is. That really only answers "what" can explain this, but not "what" sensation is. — schopenhauer1
We can try this on for size: sensation is the qualitiy of/for a certain kind of existence. Part of what motivates many of the criteria I stipulate is the fact that (spatio-temporal/bodily) differentiation (neither the environment we live in is purely symmetrical, and neither are the bodies we
are) and interaction are all inherently qualitative, or rather, they 'processually qualitative'. Key here is movement; to move is not only to feel changes in oneself and in one's environment, it is to define what
counts as self and environment in the first place. To move is to be individuated. Moreover, movement is inherently qualitative; Consider what Maxine Sheets-Johnstone writes about the inherent link between the qualities of movement which are the grounds for - what else - 'qualia':
"Any movement has a certain felt tensional quality, linear quality, amplitudinal quality, and projectional quality. In a very general sense, the felt tensional quality has to do with our sense of effort; the linear quality with both the felt linear contour of our moving body and the linear paths we sense ourselves describing in the process of moving; the amplitudinal quality with both the felt expansiveness or contractiveness of our moving body and the spatial extensiveness or constrictedness of our move- ment; the felt projectional quality with the way in which we release force or energy. Linear and amplitudinal qualities obviously describe spatial aspects of movement; tensional and projectional qualities obviously describe temporal aspects of movement, what we recognize as the felt intensity of our moving bodily energies and the felt manner in which we project those bodily energies — in a sustained manner, for example, in an explosive manner, in a punctuated manner, in a ballistic manner, and so on. Temporal aspects of movement are the result of the way in which tensional and projectional qualities combine; that is, the temporal quality of any movement derives from the manner in which any particular intensity (or combined intensities) is kinetically expressed.
On the way to spelling out the nature of these qualities more precisely, I should call specific attention to the fact that movement
creates the qualities that it embodies and that we experience; thus it is erroneous to think that movement simply takes place in space, for example. On the contrary, we formally create space in the process of moving; we qualitatively create a certain spatial character by the very nature of our movement — a large, open space, or a tight, resistant space, for example. In effect, particular spatial designs and patterns come into play with self-movement, designs and patterns that have both a linear and amplitudinal quality. The predominant shifting linear designs of our moving bodies may be now curved (as when we bend over), now twisted (as when we turn our heads), now diagonal (as when we lean forward), now vertical (as when we walk), and so on; the predominant linear patterns we create in moving may be now zig-zag (as in a game of tag), now straight (as in marching), now circular (as when we walk around an object or literally ‘go in circles’), and so on". (Sheets-Johnstone,
The Primacy of Movement)
This is why I keep emphasizing the
kinds of bodies that we are as key; to be a certain kind of body is to be a
qualified body; it is not enough to speak about 'matter' on the one hand and 'sensation' on the other, rather, we are already the kind of bodies that are sensate bodies thanks to evolution and our ability to feel the world that is not only necessarily 'around us', but that we in some ways
are. So I refuse to see 'sensation' as 'brute' or 'tautological'; this, to me, is spiritualist empty air, the same kind of which says things like 'God did it'; it explains nothing and leaves us with mysticism and posturing. To leave you with another quotation, consider Brian Massumi's words on the subject:
"When I think of my body and ask what it does to earn that name, two things stand out. It
moves. It
feels. In fact, it does both at the same time, It moves as it feels, and it feels itself moving. Can we think a body without this: an intrinsic connection between movement and sensation whereby each immediately summons the other? If you start from an intrinsic connection between movement and sensation, the slightest, most literal displacement convokes a qualitative difference, because as directly as it conducts itself it beckons a feeling, and feelings have a way of folding into each other, resonating together, interfering with each other, mutually intensifying, all in unquantifiable ways apt to unfold again in action, often unpredictably. Qualitative difference: immediately the issue is change." (Massumi,
Parables for the Virtual)