In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

La, V. P., & Vuong, Q. H. (2019). bayesvl: Visually learning the graphical structure of Bayesian networks and performing MCMC with ‘Stan’. The Comprehensive R Archive Network (CRAN).

Visual thinking -- visual imagination or perception of diagrams and symbol arrays, and mental operations on them -- is omnipresent in mathematics. Is this visual thinking merely a psychological aid, facilitating grasp of what is gathered by other means? Or does it also have epistemological functions, as a means of discovery, understanding, and even proof? By examining the many kinds of visual representation in mathematics and the diverse ways in which they are used, Marcus Giaquinto argues that visual thinking in (...) mathematics is rarely just a superfluous aid; it usually has epistemological value, often as a means of discovery. Drawing from philosophical work on the nature of concepts and from empirical studies of visual perception, mental imagery, and numerical cognition, Giaquinto explores a major source of our grasp of mathematics, using examples from basic geometry, arithmetic, algebra, and real analysis. He shows how we can discern abstract general truths by means of specific images, how synthetic a priori knowledge is possible, and how visual means can help us grasp abstract structures. Visual Thinking in Mathematics reopens the investigation of earlier thinkers from Plato to Kant into the nature and epistemology of an individual's basic mathematical beliefs and abilities, in the new light shed by the maturing cognitive sciences. Clear and concise throughout, it will appeal to scholars and students of philosophy, mathematics, and psychology, as well as anyone with an interest in mathematical thinking. (shrink)

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

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. (shrink)

This chapter argues, using the method of phenomenal contrast, that causation is represented in visual experience. The conclusion is contrasted with the conclusions drawn by Michotte in his book The Perception of Causation.

Siegel recently distinguishes between seven possible ways in which our perceptual access to social information can be biased by flawed practice of either individuals or social structures, two of which, namely attention and cognitive penetration, imply that it is the content of perception, as opposed to that of judgments, that is biased. Both attention and cognitive penetration, however, rely on cognitive states imposing top-down influences on perceptual states. As such, perceptual bias resulting from them is to a large extent merely (...) a derivation of cognitive bias. In this paper, I propose another way in which our perception can be biased, namely, as the result of faulty assumptions made by the visual system. Furthermore, I argue that in contrast to cognitive penetration and attentional direction, perceptual bias arising in this way is fundamentally perceptual and does not depend on inputs from one’s cognitive system. This sort of perceptual bias, if it exists, would have important implications for how we conceptualize social bias and pose special challenges to traditional interventions designed to counteract bias. (shrink)

Examines the philosophy, psychology, and neuroscience behind visual experience. Chapters on attention, illusions, aftereffects, binocular rivalry, hemispheric differences, attentional blink, agnosias and other disorders. Particular attention paid to consciouseness. The systematic review of key topics and the multitude of perspectives make this book an ideal primary or ancillary text for graduate courses in perception, vision, consciousness, or philosophy of mind.

A visual experience, as understood here, is a sensory event that is conscious, or like something to undergo. This chapter focuses on three issues concerning such experiences. The first issue is the so-called ‘transparency’ of experiences. The chapter distinguishes a number of different interpretations of the suggestion that visual experiences are ‘transparent’. It then discusses in what sense, if any, visual experiences are ‘transparent’, and what further conclusions one can draw from that. The second issue is which properties we are (...) presented with in visual experiences. It is widely accepted that we sometimes experience red for example. But exactly which properties do we sometimes visually experience, and which properties do we never visually experience? The third issue is which particulars, if any, we are presented with in visual experiences. Do we for example sometimes visually experience mind-independent particulars like trees? Do we sometimes visually experience mind-dependent, particular ‘sense-data’? (shrink)

I develop a theory of what we mean by the 'look' sentences that we use to describe our visual experiences, and on that basis develop a new adverbial theory of what it is to have a visual experience with a certain character.

When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator functions in (...) the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She then introduces a (...) method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and (I shall argue) philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea (which I (...) shall call the Assumption of Experience-Based Control) is hostage to empirical fortune. It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale (1995) argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides (I shall argue) fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

Our visual system can process information at both conscious and unconscious levels. Understanding the factors that control whether a stimulus reaches our awareness, and the fate of those stimuli that remain at an unconscious level, are the major challenges of brain science in the new millennium. Since its publication in 1984, Visual Masking has established itself as a classic text in the field of cognitive psychology. In the years since, there have been considerable advances in the cognitive neurosciences, and a (...) growth of interest in the topic of consciousness, and the time is ripe for a new edition of this text. Where most current approaches to the study of visual consciousness adopt a 'steady-state' view, the approach presented in this book explores its dynamic properties. This new edition uses the technique of visual masking to explore temporal aspects of conscious and unconscious processes down to a resolution in the millisecond range. The 'time slices' through conscious and unconscious vision revealed by the visual masking technique can shed light on both normal and abnormal operations in the brain. The main focus of this book is on the microgenesis of visual form and pattern perception - microgenesis referring to the processes occurring in the visual system from the time of stimulus presentation on the retinae to the time, a few hundred milliseconds later, of its registration at conscious or unconscious perceptual and behavioural levels. The book takes a highly integrative approach by presenting microgenesis within a broad context encompassing visuo-temporal phenomena, attention, and consciousness. (shrink)

Research on visual attention has uncovered significant anomalies, and some traditional methods may have inadvertently probed peripheral vision rather than attention. Vision science needs to rethink visual attention from the ground up. To facilitate this, for a year I banned the word “attention” in my lab. This constraint promoted a more precise discussion of attention-related phenomena, capacity limits, and mechanisms. The insights gained lead me to challenge attributing to “attention” those phenomena that can be better explained by perceptual processes, are (...) predictable by an ideal observer model, or that otherwise may not require an additional mechanism. I enumerate a set of critical phenomena in need of explanation. Finally, I propose a unifying theory in which all perception results from performing a task, and tasks face a limit on complexity. (shrink)

Recent work in "embodied, embedded" cognitive science links mental contents to large-scale distributed effects: dynamic patterns implicating elements of (what are traditionally seen as) sensing, reasoning and acting. Central to this approach is an idea of biological cognition as profoundly "action-oriented" - geared not to the creation of rich, passive inner models of the world, but to the cheap and efficient production of real-world action in real-world context. A case in point is Hurley's (1998) account of the profound role of (...) motor output in fixing the contents of conscious visual awareness - an account that also emphasizes distributed vehicles and long-range dynamical loops. Such stories can seem dramatically opposed to accounts, such as Milner and Goodale (1995), that stress relatively local mechanisms and that posit firm divisions between processes of visual awareness and of visuomotor action. But such accounts, I argue, can be deeply complimentary and together illustrate an important lesson. The lesson is that cognition may be embodied and action-oriented in two distinct - but complimentary - ways. There is a way of being embodied and action-oriented that implies being closely geared to the fine-grained control of low level effectors (hands, arms, legs and so on). And there is a way of being embodied and action-oriented that implies being closely geared to gross motor intentions, current goals, and schematic motor plans. Human cognition, I suggest, is embodied and action-oriented in both these ways. But the neural systems involved, and the size and scope of the key dynamic loops, may be quite different in each case. (shrink)

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference from (...) style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

One of the main limitations of natural language‐based approaches to meaning is that they do not incorporate multimodal representations the way humans do. In this study, we evaluate how well different kinds of models account for people's representations of both concrete and abstract concepts. The models we compare include unimodal distributional linguistic models as well as multimodal models which combine linguistic with perceptual or affective information. There are two types of linguistic models: those based on text corpora and those derived (...) from word association data. We present two new studies and a reanalysis of a series of previous studies. The studies demonstrate that both visual and affective multimodal models better capture behavior that reflects human representations than unimodal linguistic models. The size of the multimodal advantage depends on the nature of semantic representations involved, and it is especially pronounced for basic‐level concepts that belong to the same superordinate category. Additional visual and affective features improve the accuracy of linguistic models based on text corpora more than those based on word associations; this suggests systematic qualitative differences between what information is encoded in natural language versus what information is reflected in word associations. Altogether, our work presents new evidence that multimodal information is important for capturing both abstract and concrete words and that fully representing word meaning requires more than purely linguistic information. Implications for both embodied and distributional views of semantic representation are discussed. (shrink)

It has long been known that memory need not be a literal reproduction of the past but may be a constructive process. To say that memory is a constructive process is to say that the encoded content may differ from the retrieved content. At the same time, memory is bound by the authenticity constraint which states that the memory content must be true to the subject's original perception of reality. This paper addresses the question of how the constructive nature of (...) visual memory can be reconciled with the authenticity constraint. In what respect and to what extent may the content of a visual memory differ from the original perceptual state while still adequately reflecting the subject's original perception? (shrink)

I argue that we sometimes visually perceive the intentions of others. Just as we can see something as blue or as moving to the left, so too can we see someone as intending to evade detection or as aiming to traverse a physical obstacle. I consider the typical subject presented with the Heider and Simmel movie, a widely studied ‘animacy’ stimulus, and I argue that this subject mentally attributes proximal intentions to some of the objects in the movie. I further (...) argue that these attributions are unrevisable in a certain sense and that this result can be used to as part of an argument that these attributions are not post-perceptual thoughts. Finally, I suggest that if these attributions are visual experiences, and more particularly visual illusions, their unrevisability can be satisfyingly explained, by appealing to the mechanisms which underlie visual illusions more generally. (shrink)

In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as being perspectival, temporal, (...) and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously. (shrink)

This new edition uses the technique of visual masking to explore temporal aspects of conscious and unconscious processes down to a resolution in the...

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and communicative act (...) that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

Many of Margaret Cavendish’s criticisms of Thomas Hobbes in the Philosophical Letters (1664) relate to the disorder and damage that she holds would result if Hobbesian pressure were the cause of visual perception. In this paper, I argue that her “two men” thought experiment in Letter IV is aimed at a different goal: to show the explanatory potency of her account. First, I connect Cavendish’s view of visual perception as “patterning” to the “two men” thought experiment in Letter IV. Second, (...) I provide a potential reply on Hobbes’s behalf that appeals to physiological differences between perceivers’ sense organs, drawing upon Hobbes’s optics in De homine. Third, I argue that such a reply would misunderstand Cavendish’s objective of showing the limited explanatory resources available in understanding visual perception as pressing when compared to her view of visual perception as patterning. (shrink)

Visual number adaption is a widely accepted phenomenon. This paper advances an alternative explanation for putative cases of the phenomenon. We propose that such cases may simply reflect observers adapting to the items in perceived displays, rather than their numerical quantity. Three experiments motivate consideration of this novel proposal and call into question the evidential basis for received formulations of the number adaptation hypothesis.

Some things look more complex than others. For example, a crenulate and richly organized leaf may seem more complex than a plain stone. What is the nature of this experience—and why do we have it in the first place? Here, we explore how object complexity serves as an efficiently extracted visual signal that the object merits further exploration. We algorithmically generated a library of geometric shapes and determined their complexity by computing the cumulative surprisal of their internal skeletons—essentially quantifying the (...) “amount of information” within each shape—and then used this approach to ask new questions about the perception of complexity. Experiments 1–3 asked what kind of mental process extracts visual complexity: a slow, deliberate, reflective process (as when we decide that an object is expensive or popular) or a fast, effortless, and automatic process (as when we see that an object is big or blue)? We placed simple and complex objects in visual search arrays and discovered that complex objects were easier to find among simple distractors than simple objects are among complex distractors—a classic search asymmetry indicating that complexity is prioritized in visual processing. Next, we explored the function of complexity: Why do we represent object complexity in the first place? Experiments 4–5 asked subjects to study serially presented objects in a self‐paced manner (for a later memory test); subjects dwelled longer on complex objects than simple objects—even when object shape was completely task‐irrelevant—suggesting a connection between visual complexity and exploratory engagement. Finally, Experiment 6 connected these implicit measures of complexity to explicit judgments. Collectively, these findings suggest that visual complexity is extracted efficiently and automatically, and even arouses a kind of “perceptual curiosity” about objects that encourages subsequent attentional engagement. (shrink)

Much attention has recently been paid to the idea, which I label ‘External World Acquaintance’ (EWA), that the phenomenal character of perceptual experience is partially constituted by external features. One motivation for EWA which has received relatively little discussion is its alleged ability to help deal with the ‘Explanatory Gap’ (e.g. Fish 2008, 2009, Langsam 2011, Allen 2016). I provide a reformulation of this general line of thought, which makes clearer how and when EWA could help to explain the specific (...) phenomenal nature of visual experience. In particular, I argue that by focusing on the different kinds of perceptual actions that are available in the case of visual spatial vs. colour perception, we get a natural explanation for why we should expect the specific nature of colour phenomenology to remain less readily intelligible than the specific nature of visual spatial phenomenology. (shrink)

Frost's article advocates for universal models of reading and critiques recent models that concentrate in what has been described as “cracking the orthographic code.” Although the challenge to develop models that can account for word recognition beyond Indo-European languages is welcomed, we argue that reading models should also be constrained by general principles of visual processing and object recognition.

This comprehensively updated and expanded revision of the successful second edition continues to provide detailed coverage of the ever-growing range of research topics in vision. In Part I, the treatment of visual physiology has been extensively revised with an updated account of retinal processing, a new section explaining the principles of spatial and temporal filtering which underlie discussions in later chapters, and an up-to-date account of the primate visual pathway. Part II contains four largely new chapters which cover recent psychophysical (...) evidence and computational model of early vision: edge detection, perceptual grouping, depth perception, and motion perception. The models discussed are extensively integrated with physiological evidence. All other chapters in Parts II, III, and IV have also been thoroughly updated. (shrink)

According to so-called “thin” views about the content of experience, we can only visually experience low-level features such as colour, shape, texture or motion. According to so-called “rich” views, we can also visually experience some high-level properties, such as being a pine tree or being threatening. One of the standard objections against rich views is that high-level properties can only be represented at the level of judgment. In this paper, I first challenge this objection by relying on some recent studies (...) in social vision. Secondly, I tackle a different but related issue, namely, the idea that, if the content of experience is rich, then perception is cognitively penetrable. Against this thesis, I argue that the very same criteria that help us vindicate the truly sensory nature of our rich experiences speak against their being cognitively penetrable. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site of philosophical (...) analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

Through extensive training, experts acquire specialized knowledge and abilities. In this paper, I argue that experts also acquire specialized visual experiences. Specifically, I articulate and defend the account that experts enjoy visual experiences that represent gestalt properties through perceptual learning. I survey an array of empirical studies on face perception and perceptual expertise that support this account. I also look at studies on perceptual adaptation that some might argue present a problem for my account. I show how the data are (...) subject to an interpretation that is friendly to it. Last, I address two theoretical objections to the claim that visual experiences represent gestalt properties. (shrink)

I propose a new argument showing that conscious vision sometimes depends constitutively on conscious attention. I criticise traditional arguments for this constitutive connection, on the basis that they fail adequately to dissociate evidence about visual consciousness from evidence about attention. On the same basis, I criticise Ned Block's recent counterargument that conscious vision is independent of one sort of attention (‘cognitive access'). Block appears to achieve the dissociation only because he underestimates the indeterminacy of visual consciousness. I then appeal to (...) empirical work on the interaction between visual indeterminacy and attention, to argue for the constitutive connection. (shrink)

It has often been assumed that when we use vision to become aware of an object or event in our surroundings, this must be accompanied by a corresponding visual experience (i.e., seeing). The studies reported here show that this assumption is incorrect. When observers view a sequence of displays alternating between an image of a scene and the same image changed in some way, they often feel (or sense) the change even though they have no visual experience of it. The (...) subjective difference between sensing and seeing is mirrored in several behavioral differences, suggesting that these are two distinct modes of conscious visual perception. (shrink)

Visual Agnosia is a comprehensive and up-to-date review of disorders of higher vision that relates these disorders to current conceptions of higher vision from cognitive science, illuminating both the neuropsychological disorders and the nature of normal visual object recognition.Brain damage can lead to selective problems with visual perception, including visual agnosia the inability to recognize objects even though elementary visual functions remain unimpaired. Such disorders are relatively rare, yet they provide a window onto how the normal brain might accomplish the (...) complex task of vision. Visual Agnosia reviews a century of case studies of higher-level visual deficits following brain damage, places them in the general context of current neuroscience, and draws relevant conclusions about the organization of normal visual processing. It is unique in drawing on research in cognitive psychology, computational vision, visual neurophysiology, and neuropsychology to interpret the agnosias and draw inferences from them about visual object recognition.Following a historical account of agnosia research, Visual Agnosia offers a taxonomy of a wide range of agnosia syndromes, describing and interpreting the syndromes in terms of the latest theoretical models of visual processing and ultimately bringing them to bear as evidence on a variety of questions in the study of higher vision.Martha J. Farah is Associate Professor of Psychology at Carnegie Mellon University. Visual Agnosia is included in the Issues in Biology of Language and Cognition series, edited by John Marshall. (shrink)

Visual Arts Practice and Affect brings together a group of artist scholars to explore how visual arts can offer unique insights into the understanding of place, memory and affect. Each contributor highlights the crucial role the creative arts play in envisaging new perspectives on the making of meaning, ones that are grounded in the practicalities, materialities and embodied knowing of artistic practice. Art offers other ways of seeing, thinking, understanding the world. It can be very messy, very challenging, but also (...) moving, exquisite, astounding. The book opens a space for experiential appreciation by offering a writing that allows both the writer and the reader to consider those sorts of embodied sensibilities. (shrink)

Visual analogy is believed to be important in human problem solving. Yet, there are few computational models of visual analogy. In this paper, we present a preliminary computational model of visual analogy in problem solving. The model is instantiated in a computer program, called Galatea, which uses a language for representing and transferring visual information called Privlan. We describe how the computational model can account for a small slice of a cognitive-historical analysis of Maxwell’s reasoning about electromagnetism.

First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. For this new edition, a very substantial and illustrated epilogue has been added to the book in which Milner and Goodale review the key developments that support or challenge the views that were put forward in the first edition.

Experiments are presented showing that visual search for Mueller-Lyer (ML) stimuli is based on complete configurations, rather than component segments. Segments easily detected in isolation were difficult to detect when embedded in a configuration, indicating preemption by low-level groups. This preemption—which caused stimulus components to become inaccessible to rapid search—was an all-or-nothing effect, and so could serve as a powerful test of grouping. It is shown that these effects are unlikely to be due to blurring by simple spatial filters at (...) early visual levels. It is proposed instead that they are due to more sophisticated processes that rapidly bind contour fragments into spatially-extended assemblies. These results support the view that rapid visual search cannot access the primitives formed at the earliest stages of visual processing; rather, it can access only higher-level, more ecologically-relevant structures. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this idea is hostage to empirical fortune. (...) It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

This paper argues that a theory of situated vision, suited for the dual purposes of object recognition and the control of action, will have to provide something more than a system that constructs a conceptual representation from visual stimuli: it will also need to provide a special kind of direct (preconceptual, unmediated) connection between elements of a visual representation and certain elements in the world. Like natural language demonstratives (such as `this' or `that') this direct connection allows entities to be (...) referred to without being categorized or conceptualized. Several reasons are given for why we need such a preconcep- tual mechanism which individuates and keeps track of several individual objects in the world. One is that early vision must pick out and compute the relation among several individual objects while ignoring their properties. Another is that incrementally computing and updating representations of a dynamic scene requires keeping track of token individuals despite changes in their properties or locations. It is then noted that a mechanism meeting these requirements has already been proposed in order to account for a number of disparate empiri- cal phenomena, including subitizing, search-subset selection and multiple object tracking (Pylyshyn et al., Canadian Journal of Experimental Psychology 48(2) (1994) 260). This mechanism, called a visual index or FINST, is brie. (shrink)