Can we really perceive absences, i.e., missing things? Sartre tells us that when he arrived late for his appointment at the café, he saw the absence of his friend Pierre. Is that really what he saw? Where was it, exactly? Why didn’t Sartre see the absence of other people who were not there? Why did other people who were there not see the absence of Pierre? The perception of absences gives rise to a host of conundrums and is constantly on (...) the verge of conceptual confusion. Here I focus on the need to be clear about four sorts of distinctions: (i) the difference between perceiving an absence and perceiving something that is absent; (ii) the difference between perceiving an absence and an absence of perceiving; (iii) the difference between perceiving an absence and perceiving something as an absence; and (iv) the difference between perceiving an absence and perceiving that something is absent. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

How does a picture teach a viewer to look at it, understand it, and make meaning?. “Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook.” Semiotica, 118 : 1–70 and Peter Pericles Trifonas.. “Texts and images.” In International handbook of semiotics, Vols. 1&2, edited by Peter Pericles Trifonas. The Netherlands: Springer. Pp. 1139–1154.) The suggestion for a pictorial grammar has been derived from the fact that pictures have no unique (...) visual metalanguage and therefore require recourse to language as an instrument for pictorial analysis. The lexical-visual relationship in a text is more complex than is suggested in the question. Proponents for the semiotic autonomy of pictures have objected that the commentaries of crossmedial contexts have not asserted the semiotic priority of the lexical over the visual message. ‘Is an autonomous semiotics of visual perception possible, or does the semiotic analysis of pictorial text always require recourse to the model of language?’. (shrink)

The paper presents analysis of form in different domains. It draws on the commonalities and their potential unified classifications based on how forms subjectively appear in perception—as opposed to their standard specification in Euclidean geometry or other objective quantitative methods. The paper provides an overview aiming to offer elements for thought for researchers in various fields.

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...) expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

Empirical evidence is reviewed indicating that the extraordinary aspects of the human mind are due to our species’ ability to go beyond simple “dyadic associations” and to process the relations among three items of information simultaneously. Classic explanations of the “triadic” nature of human skills have been advocated by various scholars in the context of the evolution of human cognition. Here I summarize the core processes as found in (i) the syntax of language, (ii) tool-usage, and (iii) joint attention. I (...) then review the triadic foundations of two perceptual phenomena of great importance in human aesthetics: (iv) harmony perception and (v) pictorial depth perception. In all five subfields of human psychology, most previous work has emphasized the recursive, hierarchical complexity of such “higher cognition,” but a strongly reductionist approach indicates that the core mechanisms are triadic. It is concluded that the cognitive skills traditionally considered to be “uniquely” human require three-way associational processing that most non-Primate animal species find difficult or impossible, but all members of Homo sapiens – regardless of small cultural differences – find easy and inherently intriguing. (shrink)

Complex systems are to be seen as typically having multiple levels of organization. For instance, in the behavioural and cognitive sciences, there has been a long lasting trend, promoted by the seminal work of David Marr, putting focus on three distinct levels of analysis: the computational level, accounting for the What and Why issues, the algorithmic and the implementational levels specifying the How problem. However, the tremendous developments in neuroscience knowledge about processes at different scales of organization together with the (...) complexity of today cognitive theories suggest that there will hardly be only three levels of explanation. Instead, there will be many different degrees of commitments corresponding to the different granularities—from high-level (behavioural) models to low-level (neural and molecular) models of the cognitive research program. For instance, Bayesian approaches, that are usually advocated for formalizing Marr’s computational level and rational behaviour, have even been adopted to model synaptic plasticity and axon guidance by molecular gradients. As a result, we can consider the behavioural scientist as dealing with models at a multiplicity of levels. The purpose of this Research Topic in Frontiers in Theoretical and Philosophical Psychology is to promote an approach to the role of the levels and explanation and models which is of interest for cognitive scientists, neuroscientists, psychologists, behavioural scientists, and philosophers of science. (shrink)

The affective challenge of interdisciplinary research: In this paper I analyze the affective problem related to interdisciplinary research using, as a guiding theme, some of my autobiographical memories linked to Mariano Artigas. Starting from a theory of feelings that connects emotions closely to reasons, I defend that many problems in developing interdisciplinary research are caused by the current divorce reason/emotion in which many researchers are educated. Secondly, I identify three types of feelings in a hierarchical relationship, whose scope may be (...) very extensive, in my opinion, for the good performance of interdisciplinary dynamic: eureka excitement, narrative catharsis, and ecstatic experience. In the last part of my paper, I offer some suggestions on how to return feelings to academic domains and, at the same time, keeping sources of funding, and avoiding present evils as commoditization of knowledge and students, clientelism, and cynicism. (shrink)

Sculptors, architects, and painters are three professional groups that require a comprehensive understanding of how to manipulate spatial structures. While it has been speculated that they may differ in the way they conceive of space due to the different professional demands, this has not been empirically tested. To achieve this, we asked architects, painters, sculptors, and a control group questions about spatially complex pictures. Verbalizations elicited were examined using cognitive discourse analysis. We found significant differences between each group. Only painters (...) shifted consistently between 2D and 3D concepts, architects were concerned with paths and spatial physical boundedness, and sculptors produced responses that fell between architects and painters. All three differed from controls, whose verbalizations were generally less elaborate and detailed. Thus, for the case of sculptors, architects, and painters, profession appears to relate to a different spatial conceptualization manifested through a systematically contrasting way of talking about space. (shrink)

Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...) feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self. (shrink)

The paper presents color as a case study for the analysis of phenomena that pertain to several levels of reality and are typically framed by different sciences and disciplines. Color, in fact, is studied by physics, biology, phenomenology, and esthetics, among others. Our thesis is that color is a different entity for each level of reality, and that for this reason color generates different observables in the epistemologies of the different sciences. By analyzing color as a paradigmatic case of an (...) entity naturally spreading over different levels of reality, the paper raises the question as to whether making explicit the usually implicit ontological assumptions embedded within the different observables exploited by the different sciences may eventually clarify some of the difficulties of developing a comprehensive theory of color. (shrink)

Despite the moral gravity and far-reaching consequences of ethical judgment, evidence shows that such judgment is surprisingly malleable, prone to bias, informed by intuition and implicit associations, and swayed by mere circumstance. In this vein, this research examines how mere colors featured in logos can bias consumers’ ethical judgments about a retailer. Exposure to a logo featuring an eco-friendly color makes an ethically ambiguous practice seem more ethical; however, exposure to a logo featuring a non-eco-friendly color makes the same practice (...) seem less ethical. This effect is due to the embodied meaning of color, not referential meanings associated with the names of colors, and it is mediated by perceptions of a retailer’s eco-friendliness. Furthermore, although the word “green” appears to influence ethical ratings of retail practices more than the word “blue,” visual exposure to either color evokes similar perceptions of eco-friendliness and influences ethical judgments. Study 2c assesses and rules out alternative explanations for this effect. Critically, an eco-friendly color can skew judgments even when the practices judged are not ethically ambiguous. Individual differences in ethical sensitivity moderate the observed effect, such that individuals who are less ethically sensitive are less influenced by color. The article concludes with a discussion on how logo colors shape consumers’ perceptions of retailer ethicality. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

This paper considers the extent to which the earliest stages of learning about systems of inscription requires not just individual mental effort, but effort that is distributed across a wide physical and intellectual environment. It is particularly concerned with how children under the age of three learn about notational systems, including writing, and examines parallels with the evolution of written systems. It considers the position that children gain knowledge incrementally over the early months and years of life, supported by a (...) commonly accepted view that learning is a mental activity in which knowledge accumulates hierarchically in the minds of individual children, starting with smallest parts of the system. The paper presents evidence to the contrary, suggesting that the early learning of inscriptional systems is associated not just with individual minds, but with social and cultural cognition that is dispersed across minds, bodies, tools, and material environments. It presents data and evidence from a small study of the sign-making of children under the age of three that indicates that children of this age already use notations purposefully in the construction of signs that are intentional, multimodal, and unbounded, and that already have features associated with conventional systems of inscription. In their early sign-making they use certain underlying principles of symbolic reference associated with conventional systems, including the use of ‘generic’ structures derived from social, bodily, and material experience. Central to this process are networks of interactions between co-participants, tools, materials, and the physical environment. (shrink)

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

The Gestalt principle of isomorphism reveals the primacy of subjective experience as a valid source of evidence for the information encoded neurophysiologically. This theory invalidates the abstractionist view that the neurophysiological representation can be of lower dimensionality than the percept to which it gives rise.

Pictorial representation is a subject of interest to both cognitive science and aesthetics. Standard theories of depiction often draw on vision science, and vision science must give an account of picture perception. I offer a critical overview of standard theories of depiction and argue that none of them is adequate. I then describe ways in which new theories of perception blend elements of representationalism with an emphasis on attention and motor control. Such theories, in effect, limit the reliance on mental (...) representation in perceptual tasks. This work provides the basis for a theory of depiction in which pictorial representation is explained in terms of both mental representations and perceptual strategies. I argue that, in the case, the mental representations are most plausibly individuated by the functional and conceptual roles, rather than by causal links to the external world. (shrink)

A serious crisis is identified in theories of neurocomputation, marked by a persistent disparity between the phenomenological or experiential account of visual perception and the neurophysiological level of description of the visual system. In particular, conventional concepts of neural processing offer no explanation for the holistic global aspects of perception identified by Gestalt theory. The problem is paradigmatic and can be traced to contemporary concepts of the functional role of the neural cell, known as the Neuron Doctrine. In the absence (...) of an alternative neurophysiologically plausible model, I propose a perceptual modeling approach, to model the percept as experienced subjectively, rather than modeling the objective neurophysiological state of the visual system that supposedly subserves that experience. A Gestalt Bubble model is presented to demonstrate how the elusive Gestalt principles of emergence, reification, and invariance can be expressed in a quantitative model of the subjective experience of visual consciousness. That model in turn reveals a unique computational strategy underlying visual processing, which is unlike any algorithm devised by man, and certainly unlike the atomistic feed-forward model of neurocomputation offered by the Neuron Doctrine paradigm. The perceptual modeling approach reveals the primary function of perception as that of generating a fully spatial virtual-reality replica of the external world in an internal representation. The common objections to this picture-in-the-head concept of perceptual representation are shown to be ill founded. Key Words: brain-anchored; Cartesian theatre; consciousness; emergence; extrinsic constraints; filling-in; Gestalt; homunculus; indirect realism; intrinsic constraints; invariance; isomorphism; multistability; objective phenomenology; perceptual modeling; perspective; phenomenology; psychophysical parallelism; psychophysical postulate; qualia; reification; representationalism; structural coherence. (shrink)

This paper distinguishes two conceptions of representation at work in the philosophical literature. On the first, "contentive" conception (found, for example, in Searle and Fodor), something is a representation, roughly, if it has "propositional content". On the second, "indicative" conception (found, for example, in Dretske), representations must not only have content but also have the function of indicating something about the world. Desire is representational on the first view but not on the second. This paper argues that philosophers and psychologists (...) have sometimes conflated these two conceptions, and it examines the consequences of this conflation for the developmental literature on the child's understanding of mind. Specifically, recent research by Gopnik and Perner on the child's understanding of desire is motivated by an argument that equivocates between the two conceptions of representation. Finally, the paper suggests that an examination of when the child understands the possibility of misrepresentation in art would be helpful in charting the child's understanding of indicative representation. (shrink)

Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. (...) For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space. (shrink)

The aim of this review is to highlight the most relevant contributions on dance in neuroscientific research. Neuroscience has analyzed the mirror system through neuroimaging techniques, testing its role in imitative learning, in the recognition of other people's emotions and especially in the understanding of the motor behavior of others. This review analyses the literature related to five general areas: breakthrough studies on the mirror system, and subsequent studies on its involvement in the prediction, the execution, the control of movement, (...) and in the process of “embodied simulation” within the intersubjective relationship; research focused on investigating the neural networks in action observation, and the neural correlates of motor expertise highlighted by comparative studies on different dance styles; studies dealing with the viewer's experience of dance according to specific dance repertoires, which revealed the relevance of choreographic choices for aesthetic appreciation; studies focused on dance as an aesthetic experience, where both the emotional and the cultural dimension play a significant role, and whose investigation paves the way to further progress both in empirical and in phenomenological research methodologies; collaboration-based experiments, in which neuroscientists and choreographers developed expertise-related questions, especially focusing on the multiple phenomena that underlie motor imagery. (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)

Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued that trajectories, as (...) following the working of generative mechanisms, are necessary to theorize in order to make interesting progress within the field of cultural history. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Through advances in production and treatment technologies, transparent glass has become an increasingly versatile material and a global hallmark of modern architecture. In the shape of invisible barriers, it defines spaces while simultaneously shaping their lighting, noise, and climate conditions. Despite these unique architectural qualities, little is known regarding the human experience with glass barriers. Is a material that has been described as being simultaneously there and not there from an architectural perspective, actually there and/or not there from perceptual, behavioral, (...) and social points of view? In this article, we review systematic observations and experimental studies that explore the impact of transparent barriers on human cognition and action. In doing so, the importance of empirical and multidisciplinary approaches to inform the use of glass in contemporary architecture is highlighted and key questions for future inquiry are identified. (shrink)

The spatial aggregation/dispersion of the vegetation in a landscape affects landscape texture, with potentially important implications for its perception. The aim of the study was to investigate how plant dispersion and interspersion in small-scale landscapes could affect garden preference. Dispersion referred to the proximity and distance between plants, and interspersion referred to the degree of intermixing between plants of different species. Fifty-six participants evaluated 40 pairs of landscapes that differed in terms of plant dispersion or plant interspersion. Participants were asked (...) to rate their preference for each pair of landscapes. Furthermore, eye movements were recorded during the viewing time, and the number of fixations and fixation time were computed for each landscape image. Overall, plants arranged in a more dispersed and a more interspersed design resulted in a higher landscape preference. Dispersion was more effective than interspersion in affecting landscape preference. The number of fixations and fixation time were higher when viewing landscapes with plants arranged in a high-dispersion and high-interspersion layout. (shrink)

Space—an essential dimension of our life—is analyzable from different viewpoints, which often gives rise to contrasting conceptualizations. Perceptual analyses shed light on the intrinsic anisotropy and deformations of perceived space, raising the issue of which geometry may be able to represent perceptual space. Pictorial drawings and painting have been relevant sources of information about the nature of living and perceived space. Although the geometry of perceptual space is still in its infancy, contributions are beginning to appear. This special issue contributes (...) to the development of the geometry of perceptual space. (shrink)

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile‐oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) (...) should be over‐represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent. (shrink)

In this paper, I will argue in favor of a direct perception account of social cognition, focusing on the idea that we can directly grasp at least some mental states of others through their bodily expressions. I will investigate the way we should consider expressions and their relations to mental phenomena in order to defend DP. In order to do so, I will present Krueger and Overgaard’s idea of expressions as constitutive proper parts of the mental phenomena expressed and I (...) will show how this position can support DP. Then, I will present the way in which the authors seem to construe the relation of parthood between expressions and mental states – that is in terms of components of integral wholes, and I will introduce the possible issues that derive from this strategy. I will propose a different way to understand this parthood relation, referring to Husserl’s notion of moments as distinct from that of pieces. I will narrow my analysis to expressions of feelings, and I will try to argue that they can be described more aptly as moments of the feelings expressed. Finally, I will show how this account can support DP. (shrink)

Summary The present paper introduces the theoretical conceptualization of perceptual communication through expressive qualities. Initially, the difference with respect to the modality of perceptual communication mediated by signs is analyzed. Conversely, the theory of expressive qualities reflects the psychological conception of direct perception: any assumption of a cognitive stage of representation is excluded. Perceptual communication immediately expresses the specific character of the structural essence of the object. The structural essence is well studied by the perceptual paradigms of Experimental Phenomenology. Plurivocity, (...) the case in which the same objects can share many expressive characters, is also considered. (shrink)

This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...) develops hypotheses of aesthetic experience which have no consequences for the understanding of what art is, that is, how artists produce visual meaning effects in their works. This is so because they make the rewarding feeling of beauty the cornerstone of aesthetic experience. Next, I show why and how aesthetic experience should be defined relative to its object and the tools for meaning-making specific to that object, and not relative to the feeling (of beauty) it may elicit. Finally, I sketch the import this fact may have on a research program in empirical aesthetics. (shrink)

The concern of this article is to establish the difference between physiognomy and expression as it may be understood phenomenologically. The work of Merleau-Ponty founds the phenomenological appreciation of physiognomy, and Gestalt psychological studies on perceptual organization elaborate the specifics of physiognomic structure despite the naturalist assumptions of that school of psychology. Physiognomy is the organized structural specification of expression in the phenomenon that presents itself. This view is an alternative to conventional topical but nonthematic considerations on physiognomy . Art (...) therapy with its use of various media is a venue in which the physiognomy of clients' art products is a display of integralness or pathology. It is an immediate access to the world of the patient. The work of the Gestalt psychologist Rudolf Arnheim and of the art therapist Mala Betensky are associated with the phenomenology of Merleau-Ponty in order to advance understanding of the significance of physiognomy in experience, in behavior, and in art therapy. (shrink)

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental aesthetics, (...) and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

The aim of the paper is to develop the concept of perceptual relation and to apply it to digital environments. First, the meaning of perceptual relation is phenomenologically analyzed and defined as the interaction between the whole and its parts, which is theorized by the founders of Gestalt psychology. However, this relation is not considered as an intrinsic, but as an extended one, implying also the relation with the surrounding world (Umwelt). Subsequently, this concept of extended relation is applied to (...) a chosen object (a ball) as it is perceived in four different kinds of digital dimensions (on-screen, virtual, augmented, and hybrid). Through a phenomenological analysis, I argue that, whereas the whole-part configuration remains the same, some modes of appearance of the object (multisensoriality, figure-ground interaction, affordances, and persistence) are different. In order to define this dynamic, I have coined the concept of transdimensional analogy. (shrink)

This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose. Two aspects of global structure are investigated, variability and self-similar (...) patterns, which reflect long-range correlations along texts. We use four types of basic observations, the frequency of POS-tags per sentence, sentence length, lexical diversity, and the distribution of topic probabilities in segments of texts. These basic observations are grouped into two more general categories, the lower-level properties and, which are observed at the level of the sentence, and the higher-level properties and, which are observed at the textual level. The observations for each property are transformed into series, which are analyzed in terms of variance and subjected to Multi-Fractal Detrended Fluctuation Analysis, giving rise to three statistics: the degree of fractality () of the fractal spectrum. The statistics thus obtained are compared individually across text categories and jointly fed into a classification model. Our results show that there are in fact differences between the three text categories of interest. In general, lower-level text properties are better discriminators than higher-level text properties. Canonical fictional texts differ from non-canonical ones primarily in terms of variability in lower-level text properties. Fractality seems to be a universal feature of text, slightly more pronounced in non-fictional than in fictional texts. On the basis of our results obtained on the basis of corpus data we point out some avenues for future research leading toward a more comprehensive analysis of textual aesthetics, e.g., using experimental methodologies. (shrink)

The two most common names to invoke for a perceptualist aesthetics are Rudolf Arnheim and E. H. Gombrich. But the similaritied and differences between them have never been explicitly drawn. This paper undertakes such an analysis based on the three categories of representation, expression and historical objectivity. Arnheim's less stringent solutions to the problems of representation and expression are applauded but Gombrich's unique attempt to ground both of these categories in a form amenable to non-historicist approach to history are also (...) praised. Gombrich's anti-historicism derives from Karl Popper and Arnheim is fleshed out with the theories of Maurice Mandelbaum. The parallel comparison of Popper-Mandelbaum helps to underscore differences and show an alternative to Gombrich and Popper's nominalism. (shrink)

Summary The present article is a partly ontological, partly Gestalt-psychological discussion of the thinkability of structures in which parts and whole are interdependent (MI). In the first section, I show that in the framework of E. Husserl’s formal part–whole ontology, the conceptualization of such an interdependence leads to (mereo)logical problems. The second section turns to and affirms the experience of this interplay between parts and whole, exemplified with B. Pinna’s recent research on meaningful Gestalt perception. In the final section, I (...) take the experienceability of MI as a justification to suggest a way of rethinking it. This entails an implementation of the process of foregrounding and backgrounding displayed by reversible figures and originally described by E. Rubin. This can avoid both an identity relation between parts and whole and their mutual exclusion as well as hierarchization due to their apparent differences. It would also guarantee the inherent dynamics of interdependence. (shrink)

While inanimate objects can neither experience nor express emotions, in principle they can be expressive of emotions. In particular, music is a paradigmatic example of something expressive of emotions that surely cannot feel anything at all. The Contour theory accounts for music expressiveness in terms of those resemblances that hold between its external and perceivable properties and the typical contour of human emotional behavior. Provided that some critical aspects are emended – notably, the stress on the perception of similarity instead (...) of the more plausible hypothesis that the listener perceives manifestations that are similar – we are inclined to endorse contour theory. In particular, we share its basic idea that expressive properties are perceived. Although other kinds of processes – high-level conceptual inferences, imagination – sometimes characterize our encounters with music, still perception constitutes the standard process underlying the detection of expressiveness. Moreover, we propose to extend contour theory to visual arts. Taking into consideration, as a case study, depicted landscapes, we observe that they frequently cannot but express emotions such as joy, sadness, liveliness or melancholy. The fact that pictures, unlike music, lack any temporal dimension is a prima facie reason for doubting the extendibility of contour theory’s conceptual arsenal to them. Nevertheless, while being obviously unable to behave somehow, we claim that depicted landscapes can perfectly convey dynamic information. If this is the case, the extension of the notion of contour to visuals art via the stress on the notion of dynamism would represent a second interesting revision of contour theory. (shrink)

The representation of color by pictures raises worthwhile questions for philosophers and psychologists. Moreover, philosophers and psychologists interested in answering these questions will benefit by paying attention to each other's work. Failure to recognize the potential for interdisciplinary cooperation can be attributed to tacit acceptance of the resemblance theory of pictorial color. I argue that this theory is inadequate, so philosophers of art have work to do devising an alternative. At the same time, if the resemblance theory is false, then (...) color depiction has interesting implications for color science. Empirical researchers must rethink the widespread assumption that color recognition requires color constancy. I suggest that a neuropsychological account of color recognition will be instrumental to completing the philosophical task, but by the same token scientists might do well not to proceed without casting an eye to the work of philosophers of art. (shrink)