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  1. Visual Attention in Pictorial Perception.Gabriele Ferretti & Francesco Marchi - 2020 - Synthese 199 (1-2):2077-2101.
    According to the received view in the philosophical literature on pictorial perception, when perceiving an object in a picture, we perceive both the picture’s surface and the depicted object, but the surface is only unconsciously represented. Furthermore, it is suggested, such unconscious representation does not need attention. This poses a crucial problem, as empirical research on visual attention shows that there can hardly be any visual representation, conscious or unconscious, without attention. Secondly, according to such a received view, when looking (...)
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  • Why Trompe l'Oeils Deceive Our Visual Experience.Gabriele Ferretti - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):33-42.
    The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 33-42, Winter 2020.
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  • Visual Phenomenology Versus Visuomotor Imagery: How Can We Be Aware of Action Properties?Gabriele Ferretti - 2019 - Synthese 198 (4):3309-3338.
    Here is a crucial question in the contemporary philosophy of perception: how can we be aware of action properties? According to the perceptual view, we consciously see them: they are present in our visual phenomenology. However, this view faces some problems. First, I review these problems. Then, I propose an alternative view, according to which we are aware of action properties because we imagine them through a special form of imagery, which I call visuomotor imagery. My account is to be (...)
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  • Twofold Pictorial Experience.René Jagnow - 2019 - Erkenntnis:1-22.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  • Affordances, Context and Sociality.Anna M. Borghi - forthcoming - Synthese:1-31.
    Affordances, i.e. the opportunity of actions offered by the environment, are one of the central research topics for the theoretical perspectives that view cognition as emerging from the interaction between the environment and the body. Being at the bridge between perception and action, affordances help to question a dichotomous view of perception and action. While Gibson’s view of affordances is mainly externalist, many contemporary approaches define affordances as the product of long-term visuomotor associations in the brain. These studies have emphasized (...)
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  • Anti-Intellectualist Motor Knowledge.Gabriele Ferretti - 2020 - Synthese 198 (11):10733-10763.
    Intellectualists suggest that practical knowledge, or ‘knowing- how’, can be reduced to propositional knowledge, or ‘knowing-that’. Anti-intellectualists, on the contrary, suggest, following the original insights by Ryle, that such a reduction is not possible. Rejection of intellectualism can be proposed either by offering purely philosophical analytical arguments, or by recruiting empirical evidence from cognitive science about the nature of the mental representations involved in these two forms of knowledge. In this paper, I couple these two strategies in order to analyze (...)
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  • Twofold Pictorial Experience.René Jagnow - 2021 - Erkenntnis 86 (4):853-874.
    Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...)
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  • Sensorimotor Expectations and the Visual Field.Dan Cavedon-Taylor - 2018 - Synthese 198 (Suppl 17):3991-4006.
    Sensorimotor expectations concern how visual experience covaries with bodily movement. Sensorimotor theorists argue from such expectations to the conclusion that the phenomenology of vision is constitutively embodied: objects within the visual field are experienced as 3-D because sensorimotor expectations partially constitute our experience of such objects. Critics argue that there are two ways to block the above inference: to explain how we visually experience objects as 3-D, one may appeal to such non-bodily factors as expectations about movements of objects, not (...)
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  • On the Content of Peripersonal Visual Experience.Gabriele Ferretti - forthcoming - Phenomenology and the Cognitive Sciences:1-27.
    In a recent paper, ‘Peripersonal perception in action’, Frédérique de Vignemont tackles the problem of defining what is peculiar to the visual perception of objects falling within the peripersonal space of the observer, i.e. the space immediately surrounding the body, and which is commonly described as the space in which action takes place. In this paper, I first discuss the proposal offered by de Vignemont about what characterizes peripersonal perception. Then, I suggest an extension of this account that offers a (...)
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  • Why the Pictorial Needs the Motoric.Gabriele Ferretti - forthcoming - Erkenntnis:1-35.
    Does action play any crucial role in our perception of pictures? The standard literature on picture perception has never explicitly tackled this question. This is for a simple reason. After all, objects in a picture seem to be static objects of perception. Thus, it might sound extremely controversial to say that action is crucial in picture perception. Contrary to this general intuitive stance, this paper defends, for the first time, the apparently very controversial claim, never addressed in the literature, that (...)
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  • The Neural Dynamics of Seeing-In.Gabriele Ferretti - 2019 - Erkenntnis 84 (6):1285-1324.
    Philosophers have suggested that, in order to understand the particular visual state we are in during picture perception, we should focus on experimental results from vision neuroscience—in particular, on the most rigorous account of the functioning of the visual system that we have from vision neuroscience, namely, the ‘Two Visual Systems Model’. According to the initial version of this model, our visual system can be dissociated, from an anatomo-functional point of view, into two streams: a ventral stream subserving visual recognition, (...)
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  • Why Trompe l'Oeils Deceive Our Visual ExperienceFerretti.Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (1):33-42.
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  • Do Trompe l'Oeils Look Right When Viewed From the Wrong Place?Gabriele Ferretti - 2020 - Journal of Aesthetics and Art Criticism 78 (3):319-330.
    Picture perception and ordinary perception of real objects differ in several respects. Two of their main differences are: Depicted objects are not perceived as present and We cannot perceive significant spatial shifts as we move with respect to them. Some special illusory pictures escape these visual effects obtained in usual picture perception. First, trompe l'oeil paintings violate : the depicted object looks, even momentarily, like a present object. Second, anamorphic paintings violate : they lead to appreciate spatial shifts resulting from (...)
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  • A Distinction Concerning Vision-for-Action and Affordance Perception.Gabriele Ferretti - 2021 - Consciousness and Cognition 87:103028.
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  • Art Made for Pictures.John Kulvicki & Bence Nanay - 2018 - Phenomenology and Mind 14:120-134.
    Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the (...)
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