Online research in philosophy

This book explores the mismatch between perception and physical reality, and describes the many factors that influence the perception of space including the ...

Ross argues that the location problem for color-the problem of how it is represented as occupying a particular location in space-constitutes an objection to color subjectivism. There are two ways in which the location problem can be interpreted. First, it can be read as a why-question about the relation of visual experience to the environment represented: Why does visual experience represent a patch of color as located in this part of space rather than that? On this interpretation, the subjectivist can answer Ross's objection by appealing to the physical location of reflectance rather than color. Second, it can be read as a how-question about visual representation itself: How does visual experience put together the experience of a color with the experience of its being located in space? This version makes the location problem a problem about visual experience itself and renders the ontology of color irrelevant to its solution. The location problem is thus no more a problem for the color subjectivist than for the color realist.

The two contrasting theoretical approaches to visual perception, the constructivist and the ecological, are briefly presented and illustrated through their analyses of space and size perception. Earlier calls for their reconciliation and unification are reviewed. Neurophysiological, neuropsychological, and psychophysical evidence for the existence of two quite distinct visual systems, the ventral and the dorsal, is presented. These two perceptual systems differ in their functions; the ventral system's central function is that of identification, while the dorsal system is mainly engaged in the visual control of motor behavior. The strong parallels between the ecological approach and the functioning of the dorsal system, and between the constructivist approach and the functioning of the ventral system are noted. It is also shown that the experimental paradigms used by the proponents of these two approaches match the functions of the respective visual systems. A dual-process approach to visual perception emerges from this analysis, with the ecological-dorsal process transpiring mainly without conscious awareness, while the constructivist-ventral process is normally conscious. Some implications of this dual-process approach to visual-perceptual phenomena are presented, with emphasis on space perception. Key Words: constructivist; dual-process approach; ecological; size perception; space perception; two visual systems; visual perception theories.

Visual space can be distinguished from physical space. The ?rst is found in visual experi- ence, while the second is de?ned independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non- Euclidean, and that it does not have a single metric structure. Here it is argued (1) that visual space exhibits contraction in all three dimensions with increasing distance from the observer, (2) that experienced features of this contraction (including the apparent convergence of lines in visual experience that are produced from physically parallel stimuli in ordinary viewing con- ditions) are not the same as would be the experience of a perspective projection onto a fronto- parallel plane, and (3) that such contraction is consistent with size constancy. These properties of visual space are di?erent from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal cor- respondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s.

Visual space can be distinguished from physical space. The first is found in visual experience, while the second is defined independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non- Euclidean, and that it does not have a single metric structure. Here it is argued (1) that visual space exhibits contraction in all three dimensions with increasing distance from the observer, (2) that experienced features of this contraction (including the apparent convergence of lines in visual experience that are produced from physically parallel stimuli in ordinary viewing conditions) are not the same as would be the experience of a perspective projection onto a frontoparallel plane, and (3) that such contraction is consistent with size constancy. These properties of visual space are different from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal correspondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. Ó 2003 Elsevier B.V. All rights reserved.

How should we think about the role of visual spatial awareness in perception and perceptual knowledge? A common view, which finds a characteristic expression in Kant but has an intellectual heritage reaching back farther than that, is that an account of spatial awareness is fundamental to a theory of experience because spatiality is the defining characteristic of “outer sense”, of our perceptual awareness of how things are in the parts of the world that surround us. A natural counterpart to this idea is to treat self-consciousness as residing in a kind of sense that is fundamentally “inner”, such as introspection or whatever else gives one privileged access to his own mental states as well as the proprioceptive and kinesthetic awareness of bodily position. This division is compatible, of course, with the idea that inner sense provides an awareness of a distinctive kind of “body space”, but it treats that as importantly different from the awareness of the worldly space around one.

In contrast to such a picture, this dissertation proposes an account of visual spatial awareness according to which it is no less a source of self-consciousness than of the awareness of the objects around us, and an account of self-awareness in which visual experience is essentially implicated. I begin by arguing that we should think of visual spatial awareness not as necessary for the individuation of visual sensations but rather as an essential element in the awareness of an experientially objective world. In the subsequent chapters, I argue that in being visually aware of the egocentric positions of the worldly objects around us we are often aware also of our own spatial locations with respect to them, and that the visual experience of the world around one and one’s own situation in it is often an essential component in the knowledge that a human agent will have of his own intentional actions.

My concern in this paper is with the aspect of the phenomenal character of visual experience that pertains to its spatial dimension. I shall refer to this aspect as visual space. Kant famously claimed that the representation of space is the a priori form of the faculty of sensibility. This claim is sometimes interpreted as the view that visual space is a pictorial canvas contributed by the mind on which sensations such as color experiences are organized. This reading, whether it is correct or not, consists of at least two independent claims. First, visual space is contributed by the mind. Second, visual space is a pictorial canvas. Both of theses claims, of course, demand further explication. However.

Abstract: In this paper I offer an account of a particular variety of perception of absence, namely, visual perception of empty space. In so doing, I aim to make explicit the role that seeing empty space has, implicitly, in Mike Martin's account of the visual field. I suggest we should make sense of the claim that vision has a field—in Martin's sense—in terms of our being aware of its limitations or boundaries. I argue that the limits of the visual field are our own sensory limitations, and that we are aware of them as such. Seeing empty space, I argue, involves a structural feature of experience that constitutes our awareness of our visual sensory limitations, and thus, in virtue of which vision has a field.

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that phenomenological argumentation can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible.