Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. (...) Front-end processes occur during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

Scene Perception is the visual perception of an environment as viewed by an observer at any given time. It includes not only the perception of individual objects, but also such things as their relative locations, and expectations about what other kinds of objects might be encountered. -/- Given that scene perception is so effortless for most observers, it might be thought of as something easy to understand. However, the amount of effort required by a (...) process often bears little relation to its underlying complexity. A closer look shows that scene perception is a highly complex activity, and that any account of it must deal with several difficult issues: What exactly is a scene? What aspects of it do we represent? And what are the processes involved? Finding the answers to these questions has proven to be extraordinarily difficult. (shrink)

Debates surrounding the high-level contents of perceptual experience focus on whether weperceive the high-level properties of visual objects, such as the property of being a pine tree. Thispaper considers instead whether we perceive the high-level properties of visual scenes, such asthe property of being a forest. Liberals about the contents of perceptual experience have offered avariety of phenomenal contrast cases designed to reveal how the high-level properties of objectsfigure in our visual experience. I offer a series of equivalent phenomenal contrast (...) cases intendedto show how the high-level properties of visual scenes also figure in visual experience. Thisfirst-person evidence of high-level scene perception is combined with third-person evidence fromthe extensive empirical literature on scene categorisation. Critics of liberalism have attempted todeflate existing phenomenal contrast cases by explaining the contrasts in terms of non-perceptualcontents or in terms of attentional changes. I show that neither response is applicable to mycontrast cases and conclude that we do indeed perceptually experience the high-level propertiesof visual scenes. (shrink)

We discuss five basic principles of E-Z Reader in terms of their potential for models of eye-movement control in object and scene perception. We identify several obstacles which may hinder the extrapolation of the E-Z Reader principles to nonreading tasks, yet find that sufficient similarities remain to justify using E-Z Reader as a guide for modeling eye-movement control in object and scene perception.

Colour has been shown to facilitate the recognition of scene images, but only when these images contain natural scenes, for which colour is ‘diagnostic’. Here we investigate whether colour can also facilitate memory for scene images, and whether this would hold for natural scenes in particular. In the first experiment participants first studied a set of colour and greyscale natural and man-made scene images. Next, the same images were presented, randomly mixed with a different set. Participants were (...) asked to indicate whether they had seen the images during the study phase. Surprisingly, performance was better for greyscale than for coloured images, and this difference is due to the higher false alarm rate for both natural and man-made coloured scenes. We hypothesized that this increase in false alarm rate was due to a shift from scrutinizing details of the image to recognition of the gist of the image. A second experiment, utilizing images without a nameable gist, confirmed this hypothesis as participants now performed equally on greyscale and coloured images. In the final experiment we specifically targeted the more detail-based perception and recognition for greyscale images versus the more gist-based perception and recognition for coloured images with a change detection paradigm. The results show that changes to images are detected faster when image-pairs were presented in greyscale than in colour. This counterintuitive result held for both natural and man-made scenes and thus corroborates the shift from more detailed processing of images in greyscale to more gist-based processing of coloured images. (shrink)

Colour has been shown to facilitate the recognition of scene images, but only when these images contain natural scenes, for which colour is ‘diagnostic’. Here we investigate whether colour can also facilitate memory for scene images, and whether this would hold for natural scenes in particular. In the first experiment participants first studied a set of colour and greyscale natural and man-made scene images. Next, the same images were presented, randomly mixed with a different set. Participants were (...) asked to indicate whether they had seen the images during the study phase. Surprisingly, performance was better for greyscale than for coloured images, and this difference is due to the higher false alarm rate for both natural and man-made coloured scenes. We hypothesized that this increase in false alarm rate was due to a shift from scrutinizing details of the image to recognition of the gist of the image. A second experiment, utilizing images without a nameable gist, confirmed this hypothesis as participants now performed equally on greyscale and coloured images. In the final experiment we specifically targeted the more detail-based perception and recognition for greyscale images versus the more gist-based perception and recognition for coloured images with a change detection paradigm. The results show that changes to images are detected faster when image-pairs were presented in greyscale than in colour. This counterintuitive result held for both natural and man-made scenes and thus corroborates the shift from more detailed processing of images in greyscale to more gist-based processing of coloured images. (shrink)

The contributors to this volume seek to answer this question by exploring how analytic and holistic processes contribute to our perception of faces, objects, ...

Eye movements during mental imagery are not epiphenomenal but assist the process of image generation. Commands to the eyes for each fixation are stored along with the visual representation and are used as spatial index in a motor‐based coordinate system for the proper arrangement of parts of an image. In two experiments, subjects viewed an irregular checkerboard or color pictures of fish and were subsequently asked to form mental images of these stimuli while keeping their eyes open. During the perceptual (...) phase, a group of subjects was requested to maintain fixation onto the screen's center, whereas another group was free to inspect the stimuli. During the imagery phase, all of these subjects were free to move their eyes. A third group of subjects (in Experiment 2) was free to explore the pattern but was requested to maintain central fixation during imagery. For subjects free to explore the pattern, the percentage of time spent fixating a specific location during perception was highly correlated with the time spent on the same (empty) locations during imagery. The order of scanning of these locations during imagery was correlated to the original order during perception. The strength of relatedness of these scanpaths and the vividness of each image predicted performance accuracy. Subjects who fixed their gaze centrally during perception did the same spontaneously during imagery. Subjects free to explore during perception, but maintaining central fixation during imagery, showed decreased ability to recall the pattern. We conclude that the eye scanpaths during visual imagery reenact those of perception of the same visual scene and that they play a functional role. (shrink)

Recent developments in vision science have resulted in several major changes in our understanding of human visual perception. For example, attention no longer appears necessary for "visual intelligence"--a large amount of sophisticated processing can be done without it. Scene perception no longer appears to involve static, general-purpose descriptions, but instead may involve dynamic representations whose content depends on the individual and the task. And vision itself no longer appears to be limited to the production of a conscious (...) "picture"--it may also guide processes outside the conscious awareness of the observer. (shrink)

I aim to give a new account of picture perception: of the way our visual system functions when we see something in a picture. My argument relies on the functional distinction between the ventral and dorsal visual subsystems. I propose that it is constitutive of picture perception that our ventral subsystem attributes properties to the scene, whereas our dorsal subsystem attributes properties to the surface. Keywords: picture perception; dorsal subsystem;.

Analytic philosophy arose in the early decades of the twentieth century, with Bertrand Russell and G. E. Moore leading the way. Although some accounts emphasize the role of logic and language in the origin of analytic philosophy, of equal importance is the theme of perception, sense data, and knowledge, which dominated systematic philosophical discussion in the first two decades of the twentieth century in both Britain and America. This chapter examines work on perception and sense data as well (...) as the external world in the analytic tradition in the first half of the twentieth century. After sketching the situation before and just after 1900, it turns to Moore, Russell, and their interlocutors in the teens and twenties, addresses the American scene, looks to subsequent developments in the 1930s and beyond, and finally considers the fates of sense data and the ‘given’ and of the topic of perception more generally. (shrink)

There is a certain excitement in vision science concerning the idea of applying the tools of bayesian decision theory to explain our perceptual capacities. Bayesian models are thought to be needed to explain how the inverse problem of perception is solved, and to rescue a certain constructivist and Kantian way of understanding the perceptual process. Anticlimactically, I argue both that bayesian outlooks do not constitute good solutions to the inverse problem, and that they are not constructivist in nature. In (...) explaining how visual systems derive a single percept from underdetermined stimulation, orthodox versions of bayesian accounts encounter a problem. The problem shows that such accounts need to be grounded in Natural Scene Statistics (NSS), an approach that takes seriously the Gibsonian insight that studying perception involves studying the statistical regularities of the environment in which we are situated. Additionally, I argue that bayesian frameworks postulate structures that hardly rescue a constructivist way of understanding perception. Except for percepts, the posits of bayesian theory are not representational in nature. bayesian perceptual inferences are not genuine inferences. They are biased processes that operate over nonrepresentational states. (shrink)

Perception often occurs in the presence of others. Here we introduce joint perception as what occurs when the perceptual states of perceivers get mutually entangled, irrespective of the occurrence of joint attention. From a conceptual perspective, this entanglement results in two or more perceivers being aware that objects or scenes are mutually seen and at least visible. From an empirical perspective, this entanglement also results in a difference in how the perceivers see the objects or scenes in question. (...) Here we argue that the empirical evidence of a social sensitivity of perception is best explained by appeal to visual representations. We propose that joint perception is a place where visual representations play both an explanatory and constitutive role. We still point that representationalism needs to better explain what happens to the subject of perception when ‘we see’ an object, instead of seeing it alone. (shrink)

It has been argued that picture perception is sometimes, but not always, ‘inflected’. Sometimes the picture’s design ‘inflects’, or is ‘recruited’ into the depicted scene. The aim of this paper is to cash out what is meant by these metaphors. Our perceptual state is different when we see an object fact to face or when we see it in a picture. But there is also a further distinction: our perceptual state is very different if we perceive objects in (...) pictures in an inflected or uninflected manner. The question is what this difference amounts to. My answer is that it is a difference of attention. In the case of inflected, but not uninflected, picture perception, we are consciously attending to certain properties: to relational property that cannot be fully characterized without reference to both the picture’s design and to the depicted object. I defend this way of interpreting inflected picture perception from some important objections and emphasize the importance of this, inflected, way of perceiving pictures. (shrink)

Correspondence should be addressed to David A. Leopold [email protected] the viewing of certain patterns, widely known as ambiguous or puzzle figures, perception lapses into a sequence of spontaneous alternations, switching every few seconds between two or more visual interpretations of the stimulus. Although their nature and origin remain topics of debate, these stochastic switches are generally thought to be the automatic and inevitable consequence of viewing a pattern without a unique solution. We report here that in humans such perceptual (...) alternations can be slowed, and even brought to a standstill, if the visual stimulus is periodically removed from view. We also show, with a visual illusion, that this stabilizing effect hinges on perceptual disappearance rather than on actual removal of the stimulus. These findings indicate that uninterrupted subjective perception of an ambiguous pattern is required for the initiation of the brain-state changes underlying multistable vision.Visual perception involves coordination between sensory sampling of the world and active interpretation of the sensory data. Human perception of objects and scenes is normally stable and robust, but it falters when one is presented with patterns that are inherently ambiguous or contradictory. Under such conditions, vision lapses into a chain of continually alternating percepts, whereby a viable visual interpretation dominates for a few seconds and is then replaced by a rival interpretation. This multistable vision, or 'multistability', is thought to result from destabilization of fundamental visual mechanisms, and has offered valuable insights into how sensory patterns are actively organized and interpreted in the brain1, 2. Despite a great deal of recent research and interest in multistable perception, however, its neurophysiological underpinnings remain poorly understood. Physiological studies have suggested that disambiguation of ambiguous patterns. (shrink)

Animal Perception and Literary Language shows that the perceptual content of reading and writing derives from our embodied minds. Donald Wesling considers how humans, evolved from animals, have learned to code perception of movement into sentences and scenes. The book first specifies terms and questions in animal philosophy and surveys recent work on perception, then describes attributes of multispecies thinking and defines a tradition of writers in this lineage. Finally, the text concludes with literature coming into full (...) focus in twelve case studies of varied readings. Overall, Wesling's book offers not a new method of literary criticism, but a reveal of what we all do with perceptual content when we read. (shrink)

Humans and other animals perceive with many different sensory modalities, includ- ing olfaction, touch, audition, vision, echolocation, proprioception, gustation, and some other senses, depending on different criteria and definitions. Given its broad range, it is not possible to give a comprehensive overview of all of the philosophi- cal, psychological, and neuroscientific studies about perception in one chapter, so what will be offered here is quite selective. In the introduction, we will discuss basic concepts such as figure-ground segregation and (...) class='Hi'>scene analysis. Section 1.1 provides a historical overview of psychological theories of perception since the late 19th century. Section 1.2 discusses the information-processing approach and hierarchical explanations, while section 1.3 looks into the historical development of philosophical studies of perception. Sections 2.1–2.3 introduce contemporary issues, and 3.1–3.3 provide future directions. (shrink)

When looking at a scene, observers feel that they see its entire structure in great detail and can immediately notice any changes in it. However, when brief blank fields are placed between alternating displays of an original and a modified scene, a striking failure of perception is induced: identification of changes becomes extremely difficult, even when changes are large and made repeatedly. Identification is much faster when a verbal cue is provided, showing that poor visibility is not (...) the cause of this difficulty. Identification is also faster for objects mentioned in brief verbal descriptions of the scene. These results support the idea that observers never form a complete, detailed representation of their surroundings. In addition, results also indicate that attention is required to perceive change, and that in the absence of localized motion signals it is guided on the basis of high-level interest. (shrink)

As many as two million people in the United Kingdom repeatedly see people, animals, and objects that have no objective reality. Hallucinations on the border of sleep, dementing illnesses, delirium, eye disease, and schizophrenia account for 90% of these. The remainder have rarer disorders. We review existing models of recurrent complex visual hallucinations (RCVH) in the awake person, including cortical irritation, cortical hyperexcitability and cortical release, top-down activation, misperception, dream intrusion, and interactive models. We provide evidence that these can neither (...) fully account for the phenomenology of RCVH, nor for variations in the frequency of RCVH in different disorders. We propose a novel Perception and Attention Deficit (PAD) model for RCVH. A combination of impaired attentional binding and poor sensory activation of a correct proto-object, in conjunction with a relatively intact scene representation, bias perception to allow the intrusion of a hallucinatory proto-object into a scene perception. Incorporation of this image into a context-specific hallucinatory scene representation accounts for repetitive hallucinations. We suggest that these impairments are underpinned by disturbances in a lateral frontal cortex–ventral visual stream system. We show how the frequency of RCVH in different diseases is related to the coexistence of attentional and visual perceptual impairments; how attentional and perceptual processes can account for their phenomenology; and that diseases and other states with high rates of RCVH have cholinergic dysfunction in both frontal cortex and the ventral visual stream. Several tests of the model are indicated, together with a number of treatment options that it generates. Key Words: Blindness; Charles Bonnet; cholinergic; cortical release; delirium; dementia; dream intrusion; hallucination; Perception and Attention Deficit (PAD) model; schizophrenia. (shrink)

Illumination is a defining characteristic of natural environments, yet its nature and spatial structure remain poorly understood. I argue first that illumination is not simply light: it is an emergent, ecologically significant kind. Illumination has features not possessed by light, and contains self‐organizing structures that persist through the continual flow of light itself. These structures are immaterial and ephemeral, yet no less real for that. I then argue that these illumination entities are genuine objects of perception. This contrasts with (...) the majority view, which explains illumination‐dependent variations in appearance solely by appeal to the perceived properties of material objects. The argument exploits the proposed ontology, which shows that the structure of illumination is more like that of continuous masses of fluid than of discrete solids. Illumination entities are thus individuated not by rigid boundaries, but by stable patterns of intensity and flow. I argue that this fluid‐like structure is mirrored by a distinctive type of perceptual organization, whereby scenes are parsed into zones and flows of illumination at multiple scales. This organization involves attributing spatial‐structural features that apply distinctively to illumination, which warrants treating it as an object of perception. (shrink)

Paradigms in philosophy and cognitive science until recently have treated perception in typical human beings as relatively fixed and unchanging. Recent research instead supports the claim that perception can be altered over time by training, deliberate practice or mere exposure. If so, we do not all bring to a scene the same stock of perceptual capacities, and our differences are not just deficits or superpowers. This paper describes six questions an account of perceptual learning ought to address, (...) which pose difficult challenges to Kevin Connolly’s (2019) groundbreaking Offloading View of perceptual learning. In light of these questions, it sketches an alternative simple view according to which perceptual learning is acquiring a new or enhanced perceptual capacity in a particular way. The relevant capacity is a capacity perceptually to detect and differentiate a feature, where doing so constitutively if not wholly implicates perception. The relevant way is by means of an independently characterized learning process, rather than by adaptation, pure development, or mere accident. The perceptual change thus results from a smart process – one that is flexible, resilient, and responsive to feedback, rather than rigid, fragile and brute. Such a process can yield perceptual know-how. Thanks to perceptual learning, one comes to know how to perceive, in a sense that means being able to do so. Some specialists hone this to develop perceptual skills that are implicated in expert performance. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its (...) purpose. Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences. (shrink)

A fundamental question in the psychological sciences is the degree to which culture shapes core cognitive processes — perhaps none more foundational than how we perceive the world around us. A dramatic and oft-cited “case study” of culture’s power in this regard is the Müller-Lyer illusion, which depicts two lines of equal length but with arrowheads pointing either inward or outward, creating the illusion that one line is longer than the other. According to a line of research stretching back over (...) a century, depending on the society you were raised in (and how much carpentry you were exposed to), you may not see the illusion at all — an ambitious and influential research program motivating claims that seemingly basic aspects of visual processing may actually be “culturally evolved byproducts”. This Cultural Byproduct Hypothesis bears on foundational issues in the science, philosophy, and sociology of psychology, and remains popular today. Yet, here we argue that it is almost certainly false. We synthesize evidence from diverse fields which demonstrate that: (1) the illusion is not limited to humans, appearing in non-human animals from diverse ecologies; (2) the statistics of natural scenes are sufficient to capture the illusion; (3) the illusion does not require straight lines typical of carpentry (nor even any lines at all); (4) the illusion arises in sense modalities other than vision; and (5) the illusion arises even in congenitally blind subjects. Moreover, by reexamining historical data and ethnographic descriptions from the original case studies, we show that the evidence for cultural variation and its correlation with key cultural variables is in fact highly inconsistent, beset by questionable research practices, and misreported by later discussions. Together, these considerations undermine the most popular and dramatic example of cultural influence on perception. We further extend our case beyond this phenomenon, showing that many of these considerations apply to other visual illusions as well, including similarly implicated visual phenomena such as the Ebbinghaus, Ponzo, Poggendorf, and Horizontal-Vertical illusions. We conclude by outlining future approaches to cross-cultural research on perception, and we also point to other potential sources of cultural variation in visual processing. (shrink)

Visual percepts frequently appear chromatically rich, yet their paucity in reportable information has led to widely accepted minimalist models of vision. The discrepancy may be resolved by positing that the richness of natural scenes is reflected in phenomenal consciousness but not in detail in the phenomenal judgments upon which reports about qualia are based. Conceptual awareness (including phenomenal judgments) arises from neural mechanisms that categorize objects, and also from mechanisms that conceptually characterize textural properties of pre-categorically segmented regions in the (...) visual field. Experimental evidence suggests that complex images instigate the generation of so-called ensemble phenomenal judgments. These involve concepts that categorize global attributes of segmented areas but carry no information pertaining to details. It is then argued that there are cogent reasons for believing that phenomenal percepts (i.e. qualia) arising from chromatically complex stimuli cohere in this ensemble sense with both the stimulus and with the resulting ensemble phenomenal judgments. Thus, spatially detailed retinal images are deemed to yield correspondingly detailed phenomenal experiences that are in turn conceptually apprehended via a relatively small number of ensemble phenomenal judgments. Lastly, it is suggested that the bridge locus for chromatically rich phenomenal experiences is most plausibly located early in the cortical visual pathway. (shrink)

Background The medical care provided by the physician is an important part of the hospital scene and the action of caring. Assessments of the physician-patient meeting are based on welcome and the physician’s ability to be perceived as hospitable by the patient. By definition, to be hospitable is to have the ability to welcome, care for, reassure, and be courteous, respectful, and trustworthy. This article aims to understand patients’ perceptions of medical care perceived as not hospitable, characterized by a (...) lack of care and welcome, in a hospital environment, based on a complaint’s website. Method The research method used was qualitative analysis and the research strategy was documentary research. The data were collected on a complaints registration platform. The theoretical framework used was the theory of Hospitality. The study selected, coded, and categorized the complaints of 127 patients at the 09 most renowned private hospitals in Brazil. The Voyant tools assisted in the textual analysis of complaints while coding classified them into categories. Results After evaluating the reasons and elements of the complaint, the following was analyzed the encounter characterized as hostile and inhospitable and the attitudes perceived by the patients were grouped into what was defined as “the 4 D’s of non-hospitality”: dehumanization, disregard, dereliction of duty, and disability. Each of the attitudes was characterized by the physician’s behavior and the sensations, emotions, and feelings triggered in the patient. Conclusions Patients’ perception of the not hospitable encounter may be hostile or inhospitable. The physician’s attitude is an important criterion for evaluating the encounter. The physician’s attitude and the form of care are key factors in a culture focused on hospitality in the hospital environment. Hostile and inhospitable attitudes affect the physician-patient relationship and may compromise the patient’s well-being. (shrink)

Under typical viewing conditions, human observers readily distinguish between materials such as silk, marmalade, or granite, an achievement of the visual system that is poorly understood. Recognizing transparent materials is especially challenging. Previous work on the perception of transparency has focused on objects composed of flat, infinitely thin filters. In the experiments reported here, we considered thick transparent objects, such as ice cubes, which are irregular in shape and can vary in refractive index. An important part of the visual (...) evidence signaling the presence of such objects is distortions in the perceived shape of other objects in the scene. We propose a new class of visual cues derived from the distortion field induced by thick transparent objects, and we provide experimental evidence that cues arising from the distortion field predict both the successes and the failures of human perception in judging refractive indices. (shrink)

A compositional theory of perceptual representations would explain how the accuracy conditions of a given type of perceptual state depend on the contents of constituent perceptual representations and the way those constituents are structurally related. Such a theory would offer a basic framework for understanding the nature, grounds, and epistemic significance of perception. But an adequate semantics of perceptual representations must accommodate the holistic nature of perception. In particular, perception is replete with context effects, in which the (...) way one perceptually represents one aspect of a scene (including the position, size, orientation, shape, color, motion, or even unity of an object) normally depends on how one represents many other aspects of the scene. The ability of existing accounts of the semantics of perception to analyze context effects is at best unclear. Context effects have even been thought to call into question the very feasibility of a systematic semantics of perception. After outlining a compositional semantics for a rudimentary set of percepts, I draw on empirical models from perceptual psychology to show how such a theory must be modified to analyze context effects. Context effects arise from substantive constraints on how perceptual representations can combine and from the different semantic roles that perceptual representations can have. I suggest that context effects are closely tied to the objectivity of perception. They arise from a perceptual grammar that functions to facilitate the composition of reliably accurate representations in an uncertain but structured world. (shrink)

Chapter 2 threads an intellectual story about hearing as a sense through a line of examples, both scholarly (example: Michel Serres) and literary (Gerard Manley Hopkins). Perception-into-writing is the focus. The point is that in language, we replace and re-enact an enormous range of movements within the material surround that perception has needed in order to perform. That is how we bring the instinctual, which is invisible, up into the visible, which is the legible. In this book the (...) sentence, and the stringing of sentences called scene, are the carriers of animalist perception. Art sentences, in a novel by Louise Erdrich or in a poem by Ted Hughes, make us more conscious of our positions in time, space, hierarchy, society, the planet. (shrink)

Trichromacy may result from an adaptation to the regularities in terrestrial illumination. However, we suggest that a complete characterization of the challenges faced by colour perception must include changes in surface surround and illuminant changes due to inter-reflections between surfaces in cluttered scenes. Furthermore, our trichromatic system may have evolved to allow the detection of brownish-reddish edibles against greenish backgrounds. [Shepard].

This thesis is a critical study of the prospects for contemporary accounts of ethical intuitionism. Ethical intuitionism is an epistemological theory about the nature of our justified ethical beliefs, whose central claim is that we have at least some non-inferentially justified beliefs. Having been out of favour for much of the latter-part of the twentieth century, ethical intuitionism is enjoying something of a renaissance. Contemporary proponents of the view have shown that ethical intuitionism need not fall foul of the main (...) objections previously brought against it. Furthermore, developments in epistemology have helped to make the notion of non-inferential justification (and the associated view, epistemological foundationalism) more philosophically respectable. As I will suggest, non-inferentially justified belief paradigmatically involves a belief that is justified by a non-doxastic state. In this thesis I will consider four accounts of ethical intuitionism which each claim that a particular kind of non-doxastic state can ground justified ethical beliefs: understandings, intellectual seemings, perceptual experiences and emotional experiences. Note that contemporary ethical intuitionists do not commit themselves to there being a distinctively ethical non-doxastic state. Rather, contemporary ethical intuitionists adopt a sort of innocence by association strategy, suggesting that that we gain non-inferential justification in ethics in much the same way as we get non-inferential justification in other domains. It is my purpose in this thesis to subject each of these four accounts of contemporary ethical intuitionism to sustained philosophical criticism. Although I do not think that ethical intuitionism is implausible, it is my view that the current enthusiasm for the position ought to be seriously tempered, and that much work will need to be done in order to make it acceptable as a meta-ethical view. Firstly, with regard to the understanding (self-evidence) account I argue that there are serious problems with the view that the substantive Rossian principles are non-inferentially justifiably believed on the basis of an adequate understanding of their content. Secondly, I go on to suggest, inter alia, that proponents of the intellectual seemings account of intuitionism cannot appeal to their favoured general epistemological principle in order to ground their ethical epistemology. Given this, much work needs to be done on their part in order to show why we ought to think that intellectual seemings with an ethical content that is substantive get to justify. Thirdly, against the ethical perception account I suggest that even if it is true that ethical agents have perceptual experiences which represent ethical properties, it is not at all obvious that this supports ethical intuitionism, since insofar as such experiences get to justify, it seems plausible that they will ground inferentially or mediately justified beliefs. I do, however, suggest that a related perceptual view may be able to ground a plausible account of non-inferentially justified ethical beliefs. Finally, I consider the ethical emotions account. Given that this is a relatively new view on the philosophical scene I spend much of my time defending it against some serious recent objections brought against it. However, I will also suggest that there are question marks surrounding the epistemological credentials of emotional experiences and that much work will therefore need to be done in order to make the view that emotional experiences do in fact non-inferentially justify ethical beliefs acceptable. (shrink)

Neuroscientists commonly assume that the brain generates representations of a scene in various non-retinotopic 3D coordinate frames, for example in 'egocentric' and 'allocentric' frames. Although neurons in early visual cortex might be described as representing a scene in an eye-centred frame, using 2 dimensions of visual direction and one of binocular disparity, there is no convincing evidence of similarly organized cortical areas using non-retinotopic 3D coordinate frames nor of any systematic transfer of information from one frame to another. (...) We propose that perception and action in a 3D world could be achieved without generating ego- or allocentric 3D coordinate frames. Instead, we suggest that the fundamental operation the brain carries out is to compare a long state vector with a matrix of weights to choose an output. The processes involved in perception of a 3D scene and action within it depend, we suggest, on successive iterations of this basic operation. Advantages of this proposal include the fact that it relies on computationally well-defined operations corresponding to well-established neural processes. Also, we argue that from a philosophical perspective it is at least as plausible as theories postulating 3D coordinate frames. Finally, we suggest a variety of experiments that would falsify our claim. (shrink)

Pictures are valuable partly because they engage perception in distinctive ways. This chapter surveys recent accounts of depiction, of the distinctive content and phenomenology of our experiences of images, and of the artistic or aesthetic value that these experiences afford. Particular attention is paid to recent research on the relationship between seeing a flat image surface and having an experience as of the scene it represents.

The theoretical notion of ‘construal’ captures the idea that the way in which we describe a scene reflects our conceptualization of it. Relying on the concept of ception – which conjoins conception and perception – we operationalized construal and employed a Visual World Paradigm to establish which aspects of linguistic scene description modulate visual scene perception, thereby affecting event conception. By analysing viewing behaviour after alternating ways of describing location (prepositions), agentivity (active/passive voice) and transfer (...) (NP/pp datives), we found that the linguistic construal of a scene affects its spontaneous visual perception in two ways: either by determining the order in which the components of a scene are accessed or by modulating the distribution of attention over the components, making them more or less salient than they naturally are. We also found evidence for the existence of a cline in the construal effect with stronger expressive differences, such as the prepositional manipulation, inducing more prominent changes in visual perception than the dative manipulation. We discuss the claims language can lay to affecting visual information uptake and hence conceptualization of a static scene in the light of these results. (shrink)

The perception of space has aroused the interest of philosophers and psychiatrists from the very beginning of the phenomenological tradition. The subjective perception of space is different from our understanding of space according to the principles and laws of mathematical physics. This chapter will provide a phenomenological analysis of the spatial perception in schizophrenia, based also on neuroscientific studies. Almost a century ago, Minkowski (1971, p. 386) first noticed the phenomenon of macroscopy in schizophrenia patients: Things are (...) seen dimensionally larger than they would be normally perceived. Seeing objects larger or smaller than usual means that they are not perceived in a normal perspectival order, i.e., in a natural and uniform image or scene in which all things are proportionally arranged according to size and distance from the observer. Instead, they are perceived as objects in isolation, separated from any visual context or background. The phenomena of macroscopy and microscopy have not been studied as closely as other disorders of vision, on which most studies in the field of spatial perception focused on. The fragmentation of space and the difficulties that individuals with schizophrenia show in presenting space uniformly and in perspective have been analyzed in depth by neuropsychiatric researchers. This chapter presents the most significant findings regarding the altered perception of space in individuals with schizophrenia from the most recent studies. (shrink)

Research on the perception of biological human motion shows that people are able to infer emotional states by observing body movements. This article reviews the methodology applied in fMRI research on the neural representation of such emotion perception. Specifically, we ask how different stimulus qualities of bodily expressions, individual emotional valence, and task instructions may affect the neural representation of an emotional scene. The review demonstrates the involvement of a variety of brain areas, thereby indicating how well (...) the human brain is adjusted to navigate in multiple social situations. All stimulus categories (i.e., full-light body displays, point-light displays, and avatars) can induce an emotional percept and are associated with increased activation in an extensive neural network. This network seems to be organized around areas belonging to the so-called action observation network (PMC, IFG, and IPL) and the mentalizing network (TPJ, TP, dmPFC, and lOFC) as well as areas processing body form and motion (e.g., EBA, FBA, and pSTS). Furthermore, emotion-processing brain sites such as the amygdala and the hypothalamus seem to play an important role during the observation of emotional body expressions. Whereas most brain regions clearly display an increased response to emotional body movements in general, some structures respond selectively to negative valence. Moreover, neural activation seems to depend on task characteristics, indicating that certain structures are activated even when attention is shifted away from emotional body movements. (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown (...) the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)