Euclid proposed to trace pyramids as artifacts to facilitate the study of visual perception. The artifact assumes that the object seen delimits the base of a pyramid at the apex of which is the perceived eye. The artifact faces a serious difficulty when we notice that visual perception is carried out with two cooperating eyes. The article discusses two attempts to modify the Euclidean artifact to make it work without giving up the central assumptions. These attempts correspond to (...) the classical studies of Ptolemy’s binocular vision and Ewald Hering’s contributions in the 19th century. (shrink)

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.

The multi-modal tasks have started to play a significant role in the research on artificial intelligence. A particular example of that domain is visual–linguistic tasks, such as visual question answering. The progress of modern machine learning systems is determined, among other things, by the data on which these systems are trained. Most modern visual question answering data sets contain limited type questions that can be answered either by directly accessing the image itself or by using external data. (...) At the same time, insufficient attention is paid to the issues of social interactions between people, which limits the scope of visual question answering systems. In this paper, we propose criteria by which images suitable for social interaction visual question answering can be selected for composing such questions, based on psychological research. We believe this should serve the progress of visual question answering systems. (shrink)

This paper argues that naïve realism has an epistemic advantage over other rival views. The argument consists of two steps. First, I argue that the phenomenology of veridical visual experience plays an indispensable role in explaining how we can refer to the experience as a justificatory reason for a demonstrative judgment. Second, I argue that only naïve realism can coherently allow a veridical visual experience to be used as a factive reason.

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)

Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the _analytical_ philosophical efforts to define art and the _continental_ approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an _aesthetic cognitivist_ position, (...) art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary concerns about environmental aesthetics and somaesthetics are also addressed in the Introduction. Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis. (shrink)

Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music.

The notion that visual attention can operate over visual objects in addition to spatial locations has recently received much empirical support, but there has been relatively little empirical consideration of what can count as an `object' in the ®rst place. We have investi- gated this question in the context of the multiple object tracking paradigm, in which subjects must track a number of independently and unpredictably moving identical items in a ®eld of identical distractors. What types of feature (...) clusters can be tracked in this manner? In other words, what counts as an `object' in this task? We investigated this question with a technique we call target merging: we alter tracking displays so that distinct target and distractor loca- tions appear perceptually to be parts of the same object by merging pairs of items (one target with one distractor) in various ways ± for example, by connecting item locations with a simple line segment, by drawing the convex hull of the two items, and so forth. The data show that target merging makes the tracking task far more dif®cult to varying degrees depending on exactly how the items are merged. The effect is perceptually salient, involving in some conditions a total destruction of subjects' capacity to track multiple items. These studies provide strong evidence for the object-based nature of tracking, con®rming that in some contexts attention must be allocated to objects rather than arbitrary collections of features. In addition, the results begin to reveal the types of spatially organized scene components that can be independently attended as a function of properties such as connectedness, part struc- ture, and other types of perceptual grouping. q 2001 Elsevier Science B.V. All rights reserved. (shrink)

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories, such as Darwin's theory of evolution and sexual selection, deliberately drawing on (...) concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science - and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media, from photography to oil painting. This volume reminds us that science and art are not tightly compartmentalized, separate influences, but rather fields that shared forms - manifest as waves, layers, lines, or geometries - and invest in the idea of the evolution of form. (shrink)

Recognizing the potential hidden artistic contributions of persons with dementia opens new opportunities for interpretation and potential communication. This visual essay explores the authors’ responses to the fragile objects of art produced by a person with severe dementia and examines what may be learned from them.

Visual research methods like photography and digital storytelling are increasingly used in health and social sciences research as participatory approaches that benefit participants, researchers, and audiences. Visual methods involve a number of additional ethical considerations such as using identifiable content and ownership of creative outputs. As such, ethics committees should use different assessment frameworks to consider research protocols with visual methods. Here, we outline the limitations of ethics committees in assessing projects with a visual focus and (...) highlight the sparse knowledge on how researchers respond when they encounter ethical challenges in the practice of visual research. We propose a situated approach in relation to visual methodologies that encompasses a negotiated, flexible approach, given that ethical issues usually emerge in relation to the specific contexts of individual research projects. Drawing on available literature and two case studies, we identify and reflect on nuanced ethical implications in visual research, like tensions between aesthetics and research validity. The case studies highlight strategies developed in-situ to address the challenges two researchers encountered when using visual research methods, illustrating that some practice implications are not necessarily addressed using established ethical clearance procedures. A situated approach can ensure that visual research remains ethical, engaging, and rigorous. (shrink)

This article explores how racist propaganda works in visual communication and how such propaganda can be resisted. The article analyzes how photography has created new possibilities for the insidious dissemination of racist messages and discusses ways of resisting these visually transmitted propagandistic messages. The two sections of the article focus on examples of racist propaganda in visual culture: in section 1, the focus is on the propagandistic use of photography in the early twentieth century by the pro‐lynching movement; (...) and in section 2, the focus is on racist subtexts in communication that is both visual and verbal in mass media in recent decades. In both sections, the paper discusses how to neutralize and counter propaganda in visual culture by means of what the author terms “epistemic activism,” which consists in practices of interrogation and resistance that unmask, disrupt, and uproot biases and insensitivity. The article discusses different instances of epistemic activism that make explicit and effectively criticize racist subtexts in visual communication. The instances of epistemic activism discussed include the pamphlets of the anti‐lynching movement, critiques of visual artists and scholars, and the critical responses of online activists. The article argues that epistemic activism can produce critical viewership by disrupting the passive reception of visual messages and triggering more active and critical modes of viewing images. The author concludes by emphasizing the urgent need for epistemic activism that promotes critical awareness of the subtexts embedded in visual communication and a sense of critical responsibility in the production, consumption, and recirculation of images. (shrink)

Major depression is associated with a decrease of 1st person visual perspective in autobiographical memory, even after full remission. This study aimed to examine visual perspective in healthy never-depressed subjects presenting with either genetic or psychological vulnerability for depression. Sixty healthy participants performed the Autobiographical Memory Test with an assessment of visual perspective. Genetic vulnerability was defined by the presence of at least one S or LG allele of the polymorphism of the serotonin-transporter-linked promoter region . Psychological (...) vulnerability was defined by high scores of harm avoidance measured by the Temperament and Character Inventory. Life stress exposure, depressive mood, rumination, and familial history of depression were assessed through standardized procedures. Visual perspective for positive memories was independently predicted by both harm avoidance and a gene by environment interaction between the 5-HTTLPR polymorphism and life stress exposure. Visual perspective and vulnerability for depression may share some biological bases. (shrink)

Generations and Geographies brings together a collection of artists, critics and researchers to consider the question of sexual difference and its significance in the production and reception of visual representation by women artists.

These essays by Robert Schwartz on topics in the theory of vision are written from a pragmatic perspective. The issues and arguments will interest both philosophers and psychologists, covering new ground and bridging gaps between these disciplines. Schwartz begins historically, with discussions of problems raised and solutions offered in Bishop Berkeley's writings on vision, presenting Berkeley's views on spatial perception and the qualitative aspects of sensory experience in the context of recent theoretical and empirical work in vision theory. Schwartz then (...) turns to debates in both the philosophical and psychological literature over the view that perception is inferential and thus "indirect." Critically surveying competing characterizations of the idea of "inferential processes" he argues the need either to reframe radically the question or drop the issue. Next, Schwartz discusses pictorial representation and research on picture perception. Drawing on the work of Nelson Goodman, Schwartz explains and defends the advantages of a symbolic approach to both topics. Finally, he examines the quagmires that often develop when metaphysical concerns about the "real" and our ability to perceive it infect discussions and claims in the theory of vision. After analyzing issues arising in current psychological research on "object" perception, Schwartz turns to debates over the supposed essential nature of colors. An appreciation of the empirical and theoretical work on color perception suggests that there is no single or privileged analysis of the notion of "real colors." Schwartz circles back in the end to what he calls "that old chestnut of the philosophy of perception"--controversies over "the objects of perception"--and takes an Austinian look at the topic. (shrink)

A theoretical approach relying on quantum computation in microtubules within neurons can potentially resolve the enigmatic features of visual consciousness, but raises other questions. For example, how can delicate quantum states, which in the technological realm demand extreme cold and isolation to avoid environmental ‘decoherence’, manage to survive in the warm, wet brain? And if such states could survive within neuronal cell interiors, how could quantum states grow to encompass the whole brain? We present a physiological model for (...) class='Hi'>visual consciousness that can accommodate brain-wide quantum computation according to the Penrose–Hameroff ‘Orch OR’ model. In this view, visual consciousness occurs as a series of several-hundred-millisecond epochs, each comprising ‘crescendo sequences’ of quantum computations occurring at ∼40 Hz. (shrink)

La conciencia de que existe un mundo sublunar y, al mismo tiempo, la de que existe un principio divino en ese mismo mundo, introduce al sistema barroco español (y a sus variadas cohortes de legitimadores) en una modernidad que viene a ser la de una época de radical complejidad. La metáfora de las pirámides, que se puede remontar hasta Nicolás de Cusa, expresa la doble constitución de lo humano y su dificultad extrema para desenvolverse en los mundos de la vida. (...) Abrazar la globalidad en su variedad infinita, implica una teopolítica que ha sido objetivo expreso de la Monarquía Católica hispana. «Monarquía compuesta» que se mostró —especialmente durante el siglo XVII— como un sistema que incluía la diversidad del mundo en el horizonte del trasmundo. (shrink)

Evidence suggests that speakers can take account of the addressee's needs when referring. However, what representations drive the speaker's audience design has been less clear. This study aims to go beyond previous studies by investigating the interplay between the visual and linguistic context during audience design. Speakers repeated subordinate descriptions given in the prior linguistic context less and used basic-level descriptions more when the addressee did not hear the linguistic context than when s/he did. But crucially, this effect happened (...) only when the referent lacked the visual attributes associated with the expressions, so there was no other contextual cue available for the identification of the referent. This suggests that speakers flexibly use different contextual cues to help their addressee map the referring expression onto the intended referent. In addition, speakers used fewer pronouns when the addressee did not hear the linguistic antecedent than when s/he did. This suggests that although speakers may be egocentric during anaphoric reference, they can cooperatively avoid pronouns when the linguistic antecedents were not shared with their addressee during initial reference. (shrink)

Both philosophers of perception and analytic metaphysicians apply the tropes/universals distinction when considering the ontological status of visual properties. One way of arguing in favor of the trope interpretation of visual properties is to claim that the way in which we visually experience properties makes it plausible to characterize them as tropes. In this paper, I argue for a different position, namely that the way in which we visually experience properties provides a serious challenge for the trope interpretation, (...) but not for an interpretation in terms of universals. More specifically, I claim that the trope interpretations of visual properties have problems accounting for the fact that ordinary, veridical visual experiences can present the properties of two objects as strictly similar. (shrink)

Case studies of diverse scientific fields show how scientists use a range of resources to generate new interpretative models and to establish their plausibility as explanations of a domain. They accomplish this by manipulating imagistic representations in particular ways. I show that scientists in different domains use the same basic transformations. Common features of these transformations indicate that general cognitive strategies of interpretation, simplification, elaboration, and argumentation are at work. Social and historical studies of science emphasize the diversity of local (...) contexts of practice. However, the existence of common strategies shows that this diversity masks an important repertoire of cognitive strategies. Scientists use this repertoire to adapt their representations to meet the cognitive demands of different contexts of practice. This paper considers the implications of this finding for the notion of scientists as cognitive agents in distributed knowledge-producing systems. (shrink)

Communication is sharing and conveying information. In visual communication especially visual messages have to be formulated and interpreted. The interpretation is relative to a method of information presentation method which is human construction. This holds also in the case of visual languages. The notions of syntax and semantics for visual languages are not so well founded as they are for natural languages. Visual languages are both syntactically and semantically dense. The density is connected to the (...) compositionality of the languages. In the paper Charles Sanders Peirce’s theory of signs will be used in characterizing visual languages. This allows us to relate visual languages to natural languages. The foundation of information presentation methods for visual languages is the logic of perception, but only if perception is understood as propositional perception. This allows us to understand better the relativity of information presentation methods, and hence to evaluate the cultural relativity of visual communication. (shrink)

With the development of visual prostheses research from the engineering phase to clinical trials, volunteer recruitment for the early visual prosthesis trials needs to be carefully considered. In this article, we mainly discuss several issues related to volunteer recruitment that had posed serious challenges to the visual prosthesis trials, such as low rates of participants, high expectations and underlying motivations to participate in the visual prosthesis trials as well as the importance of informed consent. When recruiting (...) volunteers for visual prosthesis implants, it is critical that the visual prosthesis researchers should not only take into account the patient’s expectations and motivations, but also make the patients fully aware of the possible benefits and risks involved with their participation, and help patients establish realistic expectations for the early phase of visual prosthesis implantation. Based on these considerations to the challenges, eligible volunteers may be recruited in the preliminary stages of visual prosthesis trials. (shrink)

This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole (...) and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures. (shrink)

Over fifty years after Algerian independence from France, Franco-Algerian relationships and the complexities of the colonial legacy remain a key concern for many citizens in both countries. In Contesting Views, Edward Welch and Joseph McGonagle explore the significant role visual culture has had in mitigating this fraught relationship. They trace the circulation of and connections between a diverse range of still and moving images from both sides of the Mediterranean, offering a new understanding of the postcolonial experience in Europe (...) and North Africa and wider contemporary geopolitics as they play out in visual culture. (shrink)

The Perception and Attention Deficit (PAD) model of visual hallucinations is as limited in generality as other models. It does, however, raise an interesting hypothesis on the role of attentional biases among proto-objects. The prediction that neither impaired attention nor impaired sensory activation alone will produce hallucinations should be addressed in future studies by analysing partial correlations between putative causes and hallucinatory effects.

The Variable and Permeable Filters metaphor is presented with an explanation of its advantages over other popular metaphors in accounting for attention effects in many different research paradigms. Research from laboratories of the author and others are discussed briefly and shown to result in diverse facilitatory and inhibitory attention effects on visual perception. All of these effects are consistent with the VAP-Filters metaphor.

Oyeyemi's critique of racism in the United States focuses on the visual binary between whiteness and blackness, which she shows working in multiple ways to warp and distort relationships. In the Whitman family, children are valued (or not valued) according to how their skin color registers on a scale determined by white superiority. Oyeyemi's approach to racism takes the circuitous route of retelling the fairy tale of “Little Snow White,” thus calling into her own narrative a foundational text of (...) Western cultural aesthetics which links beauty to whiteness. (Snow White, whose skin is “white as snow,” is “fairest in the land.”) Rather than narrate a new version of the fairy tale, Oyeyemi separates out its elements – magic mirror, evil stepmother, and beautiful white stepdaughter – and develops each into a new thematic configuration. My analysis focuses on the subtle ways that Oyeyemi's reshaping of mirror, evil stepmother, and innocent beautiful young girl exposes the harms to children inflicted by allegiance to a (false) structure of visible difference between white skin and black skin. (shrink)

Looking at a person’s expression is a good way of telling what she feels—what emotions she has. Why is that? Is it because we see her emotion, or is it because we infer her mental state from her expression? My claim is that there is a sense in which we do see the person’s emotion. I first argue that expressions are physical events that carry information about the emotions that produce them. I then examine evidence suggesting that specific brain areas (...) and structures are involved in the process that extracts such information and makes it available in the content of visual experience. I consider only what happens in early stages of visual processing and make no claim about the role of simulation and empathy. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text (...) but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

During the mid 1980s, the renowned American documentary filmmaker Fred Wiseman produced a four-part series of films that sought to record the operations of institutions in Talladega, Alabama, devoted to the care and training of people with disabilities. These films—designated as the Multi-handicapped Series—have received much less attention than Wiseman's earlier work, as if films about disability mark a drastic departure from his previous award-winning productions, such as Titicut Follies (1965) and Hospital (1970). The Multi-handicapped Series takes up general categories (...) of disabled populations as discrete documentary topics, Deaf (1986), Blind (1986), Multi-handicapped (1986) and Adjustment & Work (1986) as opposed to a specific location as in his earlier films. As a result, the latter series of films identify social and interpersonal structures developed in the name of specific conditions. Like Foucault's research on disciplinary tactics, Wiseman's films seek out many of the segregated social spaces typically occupied by persons classified as deviant: prisons, hospitals, charity networks, sheltered workshops, resident facilities, and vocational training structures. The Multi-handicapped Series focuses on the activities of professions and practitioners in education, administration, and therapy, as well as the institutional roles designed for bodies marked as disabled. Unlike its 19th century predecessor classification, feebleminded, the latter twentieth century U.S. policy answer has been waged as a matter of dividing disabilities into a binary structure of orthopedic or cognitive categories. Such a development has left many crossover bodies in a diagnostic no-body's-land. To analyze the history of these developments, this essay recognizes the formation of today's disability category as an effect of new regimes of power; a form of domination based upon the application of particularized diagnostic pathologies that provide the basis for cordoning off bodies which fail to fit neatly within the cognitive/orthopedic binary. As documents of the social spaces that are occupied by disabled people, Wiseman's films offer a rare contemplation of institutional practices and their application to populations viewed as nonnormative. (shrink)