Individuals unvaccinated against COVID-19 (C19) experienced prejudice and blame for the pandemic. Because people vastly overestimate C19 risks, we examined whether these negative judgements could be partially understood as a form of scapegoating (ie, blaming a group unfairly for an undesirable outcome) and whether political ideology (previously shown to shape risk perceptions in the USA) moderates scapegoating of the unvaccinated. We grounded our analyses in scapegoating literature and risk perception during C19. We obtained support for our speculations through (...) two vignette-based studies conducted in the USA in early 2022. We varied the risk profiles (age, prior infection, comorbidities) and vaccination statuses of vignette characters (eg, vaccinated, vaccinated without recent boosters, unvaccinated, unvaccinated-recovered), while keeping all other information constant. We observed that people hold the unvaccinated (vs vaccinated) more responsible for negative pandemic outcomes and that political ideology moderated these effects: liberals (vs conservatives) were more likely to scapegoat the unvaccinated (vs vaccinated), even when presented with information challenging the culpability of the unvaccinated known at the time of data collection (eg, natural immunity, availability of vaccines, time since last vaccination). These findings support a scapegoating explanation for a specific group-based prejudice that emerged during the C19 pandemic. We encourage medical ethicists to examine the negative consequences of significant C19 risk overestimation among the public. The public needs accurate information about health issues. That may involve combating misinformation that overestimates and underestimates disease risk with similar vigilance to error. (shrink)

The way we refer to things in the world is shaped by the immediate physical context as well as the discourse history. But what part of the discourse history is relevant to language use in the present? In four experiments, we combine the study of task‐based conversation with measures of recognition memory to examine the role of physical contextual cues that shape what speakers perceive to be a part of the relevant discourse history. Our studies leverage the differentiation effect, (...) a phenomenon in which speakers are more likely to use a modified expression to refer to an object (e.g., dotted sock) if they had previously described a similar object (e.g., striped sock) than when they had not described a similar object. Two physical cues—the background that framed the to‐be‐described pictures and the position of the pictures in the display—were manipulated to alter perceptions about the relevant discourse context. We measured the rate with which speakers modify referring expressions to differentiate current from past referents. Recognition memory measures following the conversation probed what was and was not remembered about past discourse referents and contexts. Analysis of modification rates indicated that these contextual grouping cues shaped perceptions about the relevant discourse context. The contextual cues did not affect memory for the referents, but the memory for past referents was better for speakers than for listeners. Our findings show that perceptions about the relevant discourse history are a key determinant of how language is used in the moment but also that conversational partners form asymmetric representations of the discourse history. (shrink)

Two components of lay observers’ calculus of moral judgment are proximal intent (the actor’s mind is focused on performing the action) and distal intent (the actor’s mind is focused on the broader goal). What causes observers to prioritize one form of intent over the other? The authors observed whether construal level (Studies 1-2) and beliefs about free will (Studies 3-4) would influence participants’ sensitivity to the actor’s proximal versus distal intent. In four studies, participants read scenarios in which the actor’s (...) proximal and distal intent were independently manipulated. In Study 1, when only distal intent was present in the actor’s mind, participants rated the psychologically distant actor more responsible than the psychologically near actor. In Study 2, when only distal intent was in the actor’s mind, participants with a chronic high level of action identification rated the actor more responsible than did those with a low level of action identification. In both studies, when only proximal intent was in the actor’s mind, construal level did not predict judgments of responsibility. In Study 3, when only proximal intent was present in the actor’s mind, the more participants believed in free will, the more they rated the actor responsible. When only distal intent was in the actor’s mind, free will belief did not influence ratings of responsibility. In Study 4, the same pattern emerged when free will / determinism beliefs were manipulated and the actor performed a positive (life-saving) act. The authors discuss how these results shed new light on the literatures on moral reasoning and psycho-legal theory. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

This essay attempts to assess whether the perceptual issues posed by the contemporary interface culture, and the constant attitude shift demanded by the new media between the “natural” and the “as if” modes, might be considered a significant challenge for phenomenological aesthetics as understood in terms of Merleau-Ponty’s phenomenology of perception. To demonstrate how the use of a particular interface profoundly shapes the form and structure of an activity as well as enabling perception of a particular kind, the (...) author does not focus directly on the state-of-the-art smart interfaces, but describes the experience of cycling in a large city, with the interface in the form of the bicycle upgraded with an imagined ride simulator. While the former enables a very particular entrance into the world of perception, shaped by its moderate speed and detachment from the ground, the latter enables techno-shaped perception in the “as if” screenic mode. The experience described raises questions concerning the kinaesthetic, proprioceptive and motor features contributing to the cyclist’s mobile perception, as well as pointing to issues related to the reading of the city’s network as a particular spatial configuration generated by the cyclist’s realtime activity. This is the space-time-event-ridescape maintained and modified by the corporeal act of cycling. The spatiality of such a ride does not presume the notion of a space that contains the cyclist, but builds on notions of being-in-the-ridescape (as a kind of cityscape), in terms not only of full corporeal and mental engagement, but also of bodily literacy. The reading of the cityscape enabled by the combination of two interfaces, the bicycle and the ride simulator, is discussed in relation to de Certeau’s account of pedestrian (walking) experience in a big city, his distinction between strategies and tactics, and the notion that each cyclist contributes a novel story to ridetext, which is viewed not as an aesthetic object but as the production of puzzles for the rider to solve. The paper cocludes by questioning the capacity of phenomenology to accommodate the contemporary phenomenon of a “mixed” or “augmented reality” either in concept or in relation to the demands of the phenomenological reduction and the ends of the epoché. Indo-Pacific Journal of Phenomenology, Volume 10, Edition 2, October 2010: 61-71. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

A common approach to explaining the perception of form is through the use of static features. The weakness of this approach points naturally to dynamic definitions of form. Considering dynamical form, however, leads inevitably to the need to explain how events are perceived as time-extended—a problem with primacy over that even of qualia. Optic flow models, energy models, models reliant on a rigidity constraint are examined. The reliance of these models on the instantaneous specification of form at an instant, (...) t, or across a series of such instants forces the consideration of the primary memory supporting both the perception of time-extended events and the time-extension of consciousness. This cannot be reduced to an integration over space and time. The difficulty of defining the basis for this memory is highlighted in considerations of dynamic form in relation to scales of time. Ultimately, the possibility is raised that psychology must follow physics in a more profound approach to time and motion. (shrink)

Several disciplines share an interest in the evolutionary selection pressures that shaped human physical functioning and appearance, psyche, and behavior. The methodologies invoked from the disciplines studying these domains are often based on different rhetorics, and hence may conflict. Progress in one field is thereby hampered from effective transfer to others. Topics at the intersection of anthropometry and psychometry, such as the impact of sexual selection on the hominin face, are a typical example. Since the underlying theory explicitly places facial (...) form in the middle of a causal chain as the mediating variable between biological causes and psychological effects, a particularly convenient conceptual and analytic scenario arises as follows. Modern morphometrics allows analysis of shape both “backwards” and “forwards” . The two computations are commensurate, hence the two kinds of effects can be compared and evaluated as directions in the same morphospace. We suggest translating the morphometric methodology of “Darwinian aesthetics” into this space, where psychological and other processes of interest can be coded commensurately. Such a translation permits researchers to relate the effects of biological processes on form to the perceptions of the same processes in one unified “psychomorphospace.”. (shrink)

We represent shape in both sight and touch, but how do these abilities relate to one another? This issue has been discussed in the context of Molyneux's question of whether someone born blind could, upon being granted sight, identify shapes visually. Some have suggested that we might look to real‐world cases of sight restoration to illuminate the relation between visual and tactual shape representations. Here, I argue that newly sighted perceivers should not be relied on in this way (...) because they are unlikely to form the kinds of shape representations responsible for cross‐modal recognition in normally sighted perceivers. I then argue that the available evidence makes a compelling case for the type identity view, on which the visual and tactual representations responsible for cross‐modal recognition are type‐identical. (shrink)

Perception is often analysed as a process in which causal events from the environment act on a subject to produce states in the mind or brain. The role of the subject is an increasing feature of neuroscientific and cognitive literature. This feature is linked to the need for an account of the normative aspects of perceptual competence. A holographic model is offered in which objects are presented to the subject classified according to rules governing concepts and encoded in brain (...) function in that form. This implies that the analysis of perception must consider not only the fact that there is an interaction between the perceiving subject and the perceived object but also that the interaction is shaped by a system of concepts which the subject uses in thought and action. (shrink)

Seeing, Doing, and Knowing is an original and comprehensive philosophical treatment of sense perception as it is currently investigated by cognitive neuroscientists. Its central theme is the task-oriented specialization of sensory systems across the biological domain. Sensory systems are automatic sorting machines; they engage in a process of classification. Human vision sorts and orders external objects in terms of a specialized, proprietary scheme of categories - colours, shapes, speeds and directions of movement, etc. This 'Sensory Classification Thesis' implies that (...) sensation is not a naturally caused image from which an organism must infer the state of the world beyond; it is more like an internal communication, a signal concerning the state of the world issued by a sensory system, in accordance with internal conventions, for the use of an organism's other systems. This is why sensory states are both easily understood and persuasive.Sensory classification schemes are purpose-built to serve the knowledge-gathering and pragmatic needs of particular types of organisms. They are specialized: a bee or a bird does not see exactly what a human does. The Sensory Classification Thesis helps clarify this specialization in perceptual content and supports a new form of realism about the deliverances of sensation: 'Pluralistic Realism' is based on the idea that sensory systems coevolve with an organism's other systems; they are not simply moulded to the external world. The last part of the book deals with reference in vision. Cognitive scientists now believe that vision guides the limbs by means of a subsystem that links up with the objects of physical manipulation in ways that bypass sensory categories. In a novel extension of this theory, Matthen argues that 'motion-guiding vision' is integrated with sensory classification in conscious vision. This accounts for the quasi-demonstrative form of visual states: 'This particular object is red', and so on. He uses this idea to cast new light on the nature of perceptual objects, pictorial representation, and the visual representation of space. (shrink)

Perception is often analysed as a process in which causal events from the environment act on a subject to produce states in the mind or brain. The role of the subject is an increasing feature of neuroscientific and cognitive literature. This feature is linked to the need for an account of the normative aspects of perceptual competence. A holographic model is offered in which objects are presented to the subject classified according to rules governing concepts and encoded in brain (...) function in that form. This implies that the analysis of perception must consider not only the fact that there is an interaction between the perceiving subject and the perceived object but also that the interaction is shaped by a system of concepts which the subject uses in thought and action. (shrink)

As a result of the devastating health effects of the COVID-19 outbreak, the lockdown has been considered a safety measure in many countries. In Pakistan, the first case of COVID-19 was reported in February 2020. The purpose of this qualitative study was to investigate people’s risk perception and protective behavior during the lockdown. Twenty-two (22) participants from eight big cities across Pakistan were interviewed. A six-step reflective thematic analysis was used for data analysis. The study focused on risk (...) class='Hi'>perception and protective behaviors. Our main analytical goal was to understand how risk perception shapes human behavior in the context of lockdown, pandemic-related information flow, and corresponding meaning-making. The study revealed that people influenced by information and advice campaigns form a perception of risk that has shaped their protective behavior. They used familiar means of coping with distress, including the search for strength through religious belief practices and following the precautions recommended by health professionals through the media. (shrink)

Cognition and Temporality argues that both verbal grammar and figural grammar have their cognitive basis in twelve characteristic forms of judgment, distributed among individuals in human populations throughout history. These twelve logical forms are context-free and language-free foundations in our attentional awareness, and shape all verbal and figural statements. Moreover, these types of historical judgment are psychogenetic inheritances in a population, and each serves a distinct problem-solving function in the human species. Through analysis of verbal and figural statements, the (...) author contends, the researcher can find evidence of these forms of judgment, and in turn analyze how the event to which those statements attend is formally constructed by that judgment. This construction guides how the event is assessed, approached, and engaged in the process of problem-solving. Artists and aestheticians in the early twentieth century--including Wassily Kandinsky, Stephen C. Pepper, and Andrew Paul Ushenko--have all posited an inherited attentional perspective in individuals, manifested in the logical correspondence between their distinctive verbal and figural grammars. Cognition and Temporality elaborates these claims, arguing that while the styles of well-known artists and writers are conditioned by the public styles of a particular time period, variations in personal style manifest one's inherited form of judgment, and the characteristic grammars that express that form. Through rigorous visual and stylistic analysis, the author demonstrates the expression of these forms among notable writers and artists across history. The result is a wide-ranging and provocative contribution to phenomenology, aesthetic philosophy, and cultural history. (shrink)

An interesting pattern emerges in the Early Modern Era of women taking control of their lives and bodies through the use of material culture, and men being terrified of this fact. Women often lacked agency in a world with ever-changing perceptions of not only femininity, but also of the female form. Clothing was then one of the few ways that these women who lacked power could control their body and their spheres. To those living in the Early Modern Era, clothing (...) held far more meaning than it does in the modern day. The exchange of clothing among women was founded on and fundamental to the connections between them. It was transferred from “masters and mistresses to servants, from aunts to nieces, from sisters and brothers to younger siblings” in a “routine rotation” that was the life of a garment. Men and women alike understood the innate power of clothing in the Early Modern period and its ability to “transnature” the body it was on. Clothing had the power to “mold and shape” women into anything. Because of its transformative nature, for many women clothing was one of the few places where they could exert their control: through purchasing power, shaping their public presentation and—for lower class women—even manufacturing or selling. Busks and stays are one item which was targeted by masculinity in the early modern period because of their connection to both women and sexuality more specifically. (shrink)

Academic cheating, a common and consequential form of dishonesty, has puzzled moral psychologists and educators for decades. The present research examined a new theoretical approach to the perceptions, evaluations, and motivations that shape students’ decisions to cheat. We tested key predictions of this approach by systematically examining students’ accounts of their own cheating. In two studies, we interviewed undergraduates in psychology (n = 68) and engineering (n = 123) classes about their past experiences with plagiarism or other cheating. Interviews (...) assessed students’ perceptions of whether they were cheating, their evaluations of whether their actions were okay, and their motivations for doing what they did. Most students did not initially recognize their acts as cheating. While students generally thought cheating was wrong, they often judged the exceptional cases in which they cheated to be acceptable, citing concerns such as assignment goals and task feasibility. The findings suggest that perceptions, evaluations, and competing motivations play a key role in students’ decisions to cheat. (shrink)

We currently exist in a post-biological age. Mixed-realities shape the way in which we live modern life; half in physical form, half in a hyper-mediated virtual environment of network protocols. This article discusses network-based impacts on neurological navigation and the ways in which the human auditory cortex is developing through conjuncture with post-biological combinations of sound. In doing so, it examines the capacity of the human brain in decoding and understanding the abundance of sound in confluent, variegated realms of (...) existence and how such increased perceptions expand consciousness and, in turn, affect sonic creativity as a somewhat mimicry or response to our immediate auditory environments. Conclusively, it will be argued that the exploration of sound-based creativity can be reinterpreted for post-biological spaces, taking particular aim at the reflective approaches of musique concrète and how such technologically infused ideas can be transformed and recontextualized to match the power and capacity of today’s hybrid environments of occupancy. (shrink)

Light seems to be a very changeable size in our build environment. Being an immaterial building stone, light takes a very liquid shape in our design-vocabulary. It consists of an invisible material – photons – and therefore it takes no specific form in itself but is only articulated through the meeting with form. Therefore, since form has been the major theme for the aesthetics up until now, giving form to light is a complex and challenging task and reducing it (...) to Lux and measurable numbers only an escape from facing what is actually perceived. In this way light seems to suffer from what can be called the dichotomy between the aesthetics of the objects and the aesthetics of the perception – as stated by Boehme. To improve practice this article conducts a study of our perception, focusing more on the effects of light and less on the physical light (lux). By doing so the article tries to give a better understanding of the differences of the regional lighting cultures and the influences creating the differences. The article tries to establish a link between the regional daylight and the use of artificial lighting, showing that daylight, as a background, along with our perception, are determinant factors for how the artificial lighting and the brightness of the room is perceived. The articlehereby suggests that light is not an absolute factor. This means the end of the dichotomy between daylight and artificial light – often expressed by artificial light replacing daylight – instead this article tries to establish a dialogue between the daylight and the artificial lighting. The article describes how light – this intangible building block – can become a more workable size in the aesthetic and architectural practice of today.  . (shrink)

profile deforms as we move about it. As perceivers we are masters of the patterns of sensorimotor contingency that shape our perceptual interaction with the world. We expect changes in such things as apparent size, shape and color to occur as we actively explore the environment. In encountering perspective-dependent changes of this sort, we learn how things are quite apart form our particular perspective. Our possession of these skills is constitutive of our ability to see . This is (...) confirmed by the fact that we can disrupt a person. (shrink)

The bestseller from our pre-eminent philosopher, A.C. Grayling 'Grief and loneliness, depression, despair and failure - those things are the common human lot at least at times in all our lives'. Yet it is philosophy which, while not providing an answer to these problems, can enable us to prepare for them, and create strategies with which to deal with them. It is only through reflecting upon the world around us, reading, thinking, questioning, enjoying, that we can inculcate understanding, tolerance and (...) importantly the courage to live our lives. It is our responsibility to live such 'considered lives' and to realise that we are authors of a narrative that can be shaped and controlled. This is the fifth in a series of essay miscellanies from our foremost philosopher A.C. Grayling, reflecting upon the form of our world and its multiplicity. The essays are grouped by theme into reflections upon life and the standards we live by, including vivid polemics and perceptive pieces on significant thinkers, contemporary rights and liberties issues. This book brilliantly articulates the philosophical debate and reflection that is needed to prepare us for life in the twenty-first century. (shrink)

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with (...) those objects and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

This article addresses traditional perceptions about photography's position between nature and culture and concomitant schools of thinking focusing pre-dominantly on the photographic image as a form of visual representation. Aiming to develop an alternative perspective it considers a biosemiotic approach and turns to Jakob von Uexküll's model of subjective sentient worlds that critically dissolves the perceived dualism between nature and culture that has also underpinned most theoretical thinking about photography in the past. Today photography is largely embedded into social media (...) platforms and their interlinked digital networks, which holds far-reaching consequences for a medium that in this current form can only be fully understood if it is considered as a form of embodied material practice. Aiming to understand some of the complex manifestations this technical evolution entails the article further considers the relevance of recent non-representational concepts arising out of cognition theory and cultural geography and uses the 'selfie' as a 'theoretical object'. (shrink)

According to Minkoswki, Einstein's special theory of relativity reveals that ‘space by itself, and time by itself are doomed to fade away into mere shadows’. But perceptual experience represents objects as instantiating shapes like squareness — properties of ‘space by itself’. Thus, STR seems to threaten the veridicality of shape experience. In response to this worry, some have argued that we should analyze the contents of our spatial experiences on the model of traditional secondary qualities. On this picture—defended in (...) recent work by Chalmers —an experience of squareness just represents whatever property usually causes such experiences. This view salvages the veridicality of shape experience, but leaves the nature of the properties we perceive outside our ken. I argue that such a move is unwarranted: STR is compatible with the idea that shape experience acquaints us with the spatial character of our world. In defending this claim, I propose a view on which shape experience presents familiar Euclidean spatial properties veridically, while implicitly representing those properties as instantiated in a particular manner — namely, relative to our own frame of reference. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson (...) 1966, 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

How do we recognize identities between seen shapes and felt ones? Is this due to associative learning, or to intrinsic connections these sensory modalities? We can address this question by testing the capacities of newly sighted subjects to match seen and felt shapes, but only if it is shown that the subjects can see the objects well enough to form adequate visual representations of their shapes. In light of this, a recent study by R. Held and colleagues fails to demonstrate (...) that their newly sighted subjects’ inability to match seen and felt shape was due to a lack of intermodal connections rather than a purely visual deficit, as they may not have been able visually to represent 3D shape in the perspective-invariant way required for intermodal matching. However, the study could be modified in any of several ways to help avoid this problem. (shrink)

This article develops a view of shape representation both in visual experience and in subpersonal visual processing. The view is that, in both cases, shape is represented in a ‘layered’ manner: an object is represented as having multiple shape properties, and these properties have varying degrees of abstraction. I argue that this view is supported both by the facts about visual phenomenology and by a large collection of evidence in perceptual psychology. Such evidence is provided by studies (...) of shape discriminability, apparent motion, multiple-object tracking, and structure-from-motion. Recent neuroscientific work has also corroborated this psychophysical evidence. Finally, I draw out implications of the layered view for processes of concept acquisition. 1 Introduction2 Metric Properties andShape Properties3 Metric Views4 Against Metric Views of Visual Shape Experience5 The Visual System Uses Abstract Shape Properties6 Against Metric Views of Visual Shape Representation7 Neural Underpinnings of Abstract Shape Perception8 Implications. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality (...) forms enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

AbstractThis paper attempts to develop a comparative approach to the dream narratives of the Daoist philosopher Zhuang Zhou and the Austrian poet Hugo von Hofmannsthal. The analogous rhetorical function of the dream in their texts links the two authors from different cultures and traditions. As will be argued, in using dreams to stress a challenging and even deconstructive view of the so-called reality, both Zhuang and Hofmannsthal articulate their skepticism against substantial notions of human subjectivity and offer an imaginary life-world (...) which aims to remind us of the contingency of our being-forms. In so doing, they also shape an aesthetic way to keep oneself open to the perception and experience of the unbiased Dao or Being. Thus, their poetic texts can be read in the context of rethinking the boundary between our life and world. (shrink)

IN A recent work I have attempted to show that visual space tends to have a Euclidean geometrical structure only when the environment is filled with a repetitive pattern of regularly faceted objects carpentered to exhibit simple standard Euclidean shapes, and tends to have a hyperbolic structure when vision is deprived of these clues. I conclude that visual perception--and by analogy, all perception--is hermeneutic as well as causal: it responds to structures in the flow of optical energy, but (...) the character of its response is also hermeneutical, that is, it has the capacity to "read" the appropriate structures in the World, and to form perceptual judgments of the World about which these "speak." The clues that are "read" perceptually as giving a Euclidean visual space are engineered objects, such as streets and buildings with repetitive architectural elements. These scientific artifacts of human culture belong to a family of readable technologies central to the phenomenological and existential-hermeneutical analysis of natural science. (shrink)

Ordinary human perceivers know that visual objects are perceivable from standpoints other than their own. The aim of this paper is to provide an explanation of how perceptual experience equips perceivers with this knowledge. I approach the task by discussing a variety of action-based theories of perception. Some of these theories maintain that standpoint transcendence is required for shape perception. I argue that this standpoint transcendence must take place in the phenomenal present and that it can be (...) explained in terms of the experience of perceivers who jointly attend to an object. Joint perceivers experience objects as being perceived from standpoints other than their own. They operate in what I call “social space”, in which they single out objects by triangulating targets’ locations relative to their co-perceivers’ standpoints on these targets. It is then possible to explain the public character of the objects of individual experience by appeal to what I call “public space”. This is a spatial framework whose locations are presented as standpoints whence joint attention to the target would ensue, were they occupied by co-perceivers. If shape perception requires standpoint transcendence, then shape perceivers operate in public space and are thus capable of singling out targets by triangulating their locations from standpoints other than their own. If it doesn’t, then the introduction of a public spatial framework is an additional step whose introduction explains how perceivers come to experience objects as perceivable from standpoints other than their own. (shrink)

In exploring corporate perceptions of the business case for supplier diversity, this paper reports on a cross-national study of large purchasing organisations that had introduced, or were in the process of introducing, purchasing initiatives aimed at ethnic minority businesses. The research investigates how LPOs portray the benefits of this form of socially responsible purchasing and suggests a business case construct based on four component elements. It also highlights a number of contextual factors that appear to have shaped business case rationales. (...) The paper concludes with a discussion of issues of cost and contingent influences affecting SD programmes and points to possible areas for future research. (shrink)

There is a growing interest in understanding how follower reactions towards abusive leadership are shaped by followers’ perceptions and attributions. Our studies add to the understanding of the process happening between different levels of leaders’ abusive behavior (from constructive leadership as control, laissez-faire, mild to strong abusive) and follower reactions. Specifically, we focus on the role of perception of abusive supervision as a mediator and attribution as a moderator of the relationship between leader abusive behavior and follower reactions. Follower (...) reactions are defined in terms of exit, voice, loyalty, and neglect. Two studies using a two point experimental design and vignettes and a cross-sectional field study were conducted. Perception partly mediates the relationship between leader behavior and reactions (Study 1 and 2). Different attributions (intention, control) moderate the relationship between the perception of abusive supervision and reactions in Study 2 and 3. In Study 2, attribution of intentionality of the leader behavior served as a moderator of the relationship between abusive supervision and loyalty, turnover, and voice. Attribution of intentionality reduced the relationship between perception of abusive supervision and reactions. Attribution of intentionality only strengthened negative reactions when milder abusive leadership was perceived. These results were not supported in Study 3. However, in Study 3, attribution to the supervisor’ control served as moderator for loyalty and voice. A stronger relationship between the perception of abusive supervision and reactions emerged for high versus for low attribution to the supervisor. The differences in results between the studies reflect that in Study 1 and 2 abusive behavior was manipulated and in Study 3 the perception of abusive supervision of actual leaders was assessed. Our findings show that avoidance of abusive supervision should be taken seriously and followers’ perception and suffering is not only due to subjective judgment but reflects actual differences in behavior. The relationships are stronger in the field study, because, in practice, abusive behaviors might be more ambiguous. The research presented here can help leaders to better understand their own and the followers’ role in the perception of and reaction to abusive supervision. (shrink)

Music is an ancient and ubiquitous form of human expression. One important component for which music is sought after is its aesthetic value, whose appreciation has typically been associated with largely learned, culturally determined factors, such as education, exposure, and social pressure. However, neuroscientific evidence shows that the aesthetic response to music is often associated with automatic, physically- and biologically-grounded events, such as shivers, chills, increased heart rate, and motor synchronization, suggesting the existence of an underlying biological platform upon which (...) contextual factors may act. Drawing on philosophical notions and neuroscientific evidence, I argue that, although there is no denying that social and cultural context play a substantial role in shaping the aesthetic response to music, these act upon largely universal, biological mechanisms involved with neural processing. I propose that the simultaneous presence of culturally-influenced and biologically-determined contributions to the aesthetic response to music epitomizes Baumgarten’s equation of sensory perception with taste. Taking the argument one step further, I suggest that the heavily embodied aesthetic response to music bridges the cleavage between the two discrepant meanings—the one referring to sensory perception, the other referring to judgments of taste—traditionally attributed to the word “aesthetics” in the sciences and the humanities. (shrink)

This study explores whether gender stereotypes about math ability shape high school teachers’ assessments of the students with whom they interact daily, resulting in the presence of conditional bias. It builds on theories of intersectionality by exploring teachers’ perceptions of students in different gender and racial/ethnic subgroups and advances the literature on the salience of gender across contexts by considering variation across levels of math course-taking in the academic hierarchy. Analyses of nationally representative data from the Education Longitudinal Study (...) of 2002 reveal that disparities in teachers’ perceptions of ability that favored white males over minority students of both genders are explained away by student achievement in the form of test scores and grades. However, we find evidence of a consistent bias against white females, which although relatively small in magnitude, suggests that teachers hold the belief that math is just easier for white males than it is for white females. In addition, we find some evidence of variation across course level contexts with regard to bias. We conclude by discussing the implications of our findings for research on the construction of gender inequality. (shrink)

A richly perceptive and highly readable essay, which develops the thesis that the most successful approach to the history of art is the notion of a sequence of forms, beginning with a "prime work" and being extended through replications. This concise yet far-ranging book illustrates the effectiveness of the sequential form of analysis by its reference to a wide array of examples drawn mostly from the history of painting and architecture. Along the way, many insights are suggested concerning the nature (...) of history, time, change, and duration.--E. S. C. (shrink)

This book focuses on the social psychology of belief systems and how they influence perceptions of reality. These belief systems, from politics to religion to science, shape one¿s thoughts and views, but also can be the cause of conflict and disagreement over values, particularly when they are enacted in political policies. ¿ In¿Belief Systems and the Perceptions of Reality, editors Bastiaan Rutjens and Mark Brandt examine the social psychological effects at the heart of the conflict, by bringing together contributions (...) under five themes: Motivated Reasoning; Inequality; Threat; Scientists Interpreting Science; and People Interpreting Science. This book aims to create a more integrated understanding of reality perception and its connection with belief systems, viewed through the lens of social psychology. ¿ The synthesis of expert contributors as well as the literature around social psychology and belief systems makes this a unique resource for students, researchers and academics in behavioural and social sciences, as well as activists and journalists working in this political field. (shrink)

For scatterplots with gaussian distributions of dots, the perception of Pearson correlation r can be described by two simple laws: a linear one for discrimination, and a logarithmic one for perceived magnitude (Rensink & Baldridge, 2010). The underlying perceptual mechanisms, however, remain poorly understood. To cast light on these, four different distributions of datapoints were examined. The first had 100 points with equal variance in both dimensions. Consistent with earlier results, just noticeable difference (JND) was a linear function of (...) the distance away from r = 1, and the magnitude of perceived correlation a logarithmic function of this quantity. In addition, these laws were linked, with the intercept of the JND line being the inverse of the bias in perceived magnitude. Three other conditions were also examined: a dot cloud with 25 points, a horizontal compression of the cloud, and a cloud with a uniform distribution of dots. Performance was found to be similar in all conditions. The generality and form of these laws suggest that what underlies correlation perception is not a geometric structure such as the shape of the dot cloud, but the shape of the probability distribution of the dots, likely inferred via a form of ensemble coding. It is suggested that this reflects the ability of observers to perceive the information entropy in an image, with this quantity used as a proxy for Pearson correlation. (shrink)