We offer an ecological (Gibsonian) alternative to cognitive (im)penetrability. Whereas Pylyshyn explains cognitive (im)penetrability by focusing solely on computations carried out by the nervous system, according to the ecological approach the perceiver as a knowing agent influences the entire animal-environmental system: in the determination of what constitutes the environment (affordances), what constitutes information, what information is detected and, thus, what is perceived.

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.

This paper considers the philosophical interpretation of the concept of svabhāva, sometimes translated as 'inherent existence' or 'own-being', in the Madyamaka school of Buddhist philosophy. It is argued that svabhāva must be understood as having two different conceptual dimensions, an ontological and a cognitive one. The ontological dimension of svabhāva shows it to play a particular part in theories investigating the most fundamental constituents of the world. Three different understandings of svabhāva are discussed under this heading: svabhāva understood as essence, (...) as substance, and as the true nature of phenomena (absolute svabhāva). The cognitive dimension shows svabhāva as playing an important rôle in our everyday conceptualization of phenomena. Svabhāva is here seen as a superimposition (samāropa) which the mind projects onto the world. (shrink)

In recent papers [1997, in press] I have explored how two seemingly conflicting paradigms inform the conception and study of picture perception. The dominant paradigm, one especially favored by vision theorists, claims that seeing a pictorial representation of an object is, with qualifications, like seeing the object itself. The picture, being a geometrically sanctioned projection of its object, resembles it, or otherwise serves as a mimetic surrogate, “re-presenting” what it depicts [Danto, 1982]. Accordingly, pictorial representation is at its best when, (...) as in trompe l’oeil paintings, viewers can not tell the picture, the stand in or substitute, from the real thing. An alternative paradigm, the symbolic model, championed most forcefully by Nelson Goodman [1968], focuses attention on syntactic and semantic features of pictures. On this account, pictures are importantly allied with other forms of representation, including languages, maps, and music notation, and picture perception is to be understood in this context. (shrink)

Descriptive metaphysics investigates our naïve ontology as this is articulated in the content of our perception or of our pre-reflective thought about the world. But is access to such content reliable? Sceptics about the standard modes of access (introspection, or language-driven intuitions) may think that investigations in descriptive metaphysics can be aided by the controlled findings of cognitive science. Cognitive scientists have studied a promising range of representational advantages, that is, ways in which cognition favours one type of entity over (...) another. The notion of representational advantage is investigated and some scepticism is expressed as to its appropriateness for use in descriptive metaphysics. (shrink)

[opening paragraph]: An intriguing element of Paul Cezanne's legacy is that while he aligned his paintings with the classical Renaissance tradition of Western art, his innovative body of work ushered in a decisive break with the standards of that tradition in the twentieth century. The many ways in which Cezanne's representational system deviates from the pluralistic art of the twentieth century suggests that probing his allegiance to classicism offers a unique vantage point for studying visual art, perception, and consciousness. It (...) is for this reason that this paper examines Cezanne's contributions from both the painterly and the cognitive science perspectives, asking what artists in fact contribute to our studies in these areas. [A response to this article from Semir Zeki is published in Trends in Cognitive Science.]. (shrink)

Psychophysical studies of change blindness indicate that, at any instant, human observers are aware of detail in few parts of the visual field. Such results suggest, to some theorists, that human vision reconstructs only a few portions of the visual scene and that, to bridge the resulting representational gaps, it often lets physical objects serve as their own short-term memory. We propose that human vision reconstructs no portion of the visual scene, and that it never lets physical objects serve as (...) their own short-term memory. (shrink)

Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of (...) acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The out- side world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the gov- erning laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Sev- eral lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual “filling in,” visual stability despite eye movements, change blindness, sensory substitution, and color perception. (shrink)

Imagine yourself sitting on your front porch, sipping your morning coffee and admiring the scene before you. You see trees, houses, people, automobiles; you see a cat running across the road, and a bee buzzing among the flowers. You see that the flowers are yellow, and blowing in the wind. You see that the people are moving about, many of them on bicycles. You see that the houses are painted different colors, mostly earth tones, and most are one-story but a (...) few are two-story. It is a beautiful morning. Thus the world interfaces with your mind through your senses. There is a strong intuition that we are not disconnected from the world. We and the other things we see around us are part of a continuous whole, and we have direct access to them through vision, touch, etc. However, the philosophical tradition tries to drive a wedge between us and the world by insisting that the information we get from perception is the result of inference from indirect evidence that is about how things look and feel to us. The philosophical problem of perception is then to explain what justifies these inferences. We will focus on visual perception. Figure one presents a crude diagram of the cognitive system of an agent capable of forming beliefs on the basis of visual perception. Cognition begins with the stimulation of the rods and cones on the retina. From that physical input, some kind of visual processing produces an introspectible visual image. In response to the production of the visual image, the cognizer forms beliefs about his or her surroundings. Some beliefs the perceptual beliefs are formed as direct responses to the visual input, and other beliefs are inferred from the perceptual beliefs. The perceptual beliefs are, at the very least, caused or causally influenced by having the image. This is signified by the dashed arrow marked with a large question mark. We will refer to this as the mystery link. Figure one makes it apparent that in order to fully understand how knowledge is based on perception, we need three different theories.. (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)

Dynamic surface completion is a phenomenon of visual filling-in where a colored pattern perceptually spreads onto an area confined by virtual contours in a multi-aperture motion display. The spreading effect is qualitatively similar to static texture spreading but widely surpasses it in strength, making it particularly suited for quantitative studies of visual interpolation processes. I carried out six experiments to establish with objective tasks that homogeneous color, as well as non-uniform texture spreading is a genuine representation of surface qualities and (...) thus goes beyond mere contour interpolation. The experiments also serve to relate the phenomena to ongoing discussions about potentially responsible mechanisms for spatiotemporal integration: With a phenomenological method, I examined to what extent simple sensory persistence might be causally involved in the effect under consideration. The findings are partially consistent with the idea of sensory persistence, and indicate that information fragments are integrated over a time window of about 100 to 150 ms to form a complete surface representation. (shrink)

Abstract. Classical constructivists such as Rock and Hoffman contend that the processes of perception are intelligent and construct perceptual experience by going beyond the stimulus information or by creating a percept that deviates from the physical properties of the object. On these terms, Gibson’s theory of perception is anti-constructivist. After reviewing classical constructivism, this article maintains, first, that the phenomenology of visual space shows a deviation from physical spatial properties, by being contracted in depth, even under full cue conditions, a (...) fact that makes trouble for Gibson’s version of direct realism. Second, independently of the first argument, it contends that perception is pervasively constructed in the sense that stimulus information must be transformed to yield perception. Accordingly, perception is radically constructed in its very bones. (shrink)

Evidence from cognitive science supports the claim that humans and other animals see the world as divided into objects. Although this claim is widely accepted, it remains unclear whether the mechanisms of visual reference have representational content or are directly instantiated in the functional architecture. I put forward a version of the former approach that construes object files as icons for objects. This view is consistent with the evidence that motivates the architectural account, can respond to the key arguments against (...) representational accounts, and has explanatory advantages. I draw general lessons for the philosophy of perception and the naturalization of intentionality. (shrink)

In this paper, I critically assess the enactive account of visual perception recently defended by Alva Noë (2004). I argue inter alia that the enactive account falsely identifies an object’s apparent shape with its 2D perspectival shape; that it mistakenly assimilates visual shape perception and volumetric object recognition; and that it seriously misrepresents the constitutive role of bodily action in visual awareness. I argue further that noticing an object’s perspectival shape involves a hybrid experience combining both perceptual and imaginative elements—an (...) act of what I call ‘make‐perceive’. (shrink)

The derivative is a basic concept of differential calculus. However, if we calculate the derivative as change in distance over change in time, the result at any instant is 0/0, which seems meaningless. Hence, Newton and Leibniz used the limit to determine the derivative. Their method is valid in practice, but it is not easy to intuitively accept. Thus, this article describes the novel method of differential calculus based on the double contradiction, which is easier to accept intuitively. Next, the (...) geometrical meaning of the double contradiction is considered as follows. A tangent at a point on a convex curve is iterated. Then, the slope of the tangent at the point is sandwiched by two kinds of lines. The first kind of line crosses the curve at the original point and a point to the right of it. The second kind of line crosses the curve at the original point and a point to the left of it. Then, the double contradiction can be applied, and the slope of the tangent is determined as a single value. Finally, the meaning of this method for the foundation of mathematics is considered. We reflect on Dehaene’s notion that the foundation of mathematics is based on the intuitions, which evolve independently. Hence, there may be gaps between intuitions. In fact, the Ancient Greeks identified inconsistency between arithmetic and geometry. However, Eudoxus developed the theory of proportion, which is equivalent to the Dedekind Cut. This allows the iteration of an irrational number by rational numbers as precisely as desired. Simultaneously, we can define the irrational number by the double contradiction, although its existence is not guaranteed. Further, an area of a curved figure is iterated and defined by rectilinear figures using the double contradiction. (shrink)

This article develops a view of shape representation both in visual experience and in subpersonal visual processing. The view is that, in both cases, shape is represented in a ‘layered’ manner: an object is represented as having multiple shape properties, and these properties have varying degrees of abstraction. I argue that this view is supported both by the facts about visual phenomenology and by a large collection of evidence in perceptual psychology. Such evidence is provided by studies of shape discriminability, (...) apparent motion, multiple-object tracking, and structure-from-motion. Recent neuroscientific work has also corroborated this psychophysical evidence. Finally, I draw out implications of the layered view for processes of concept acquisition. 1 Introduction2 Metric Properties andShape Properties3 Metric Views4 Against Metric Views of Visual Shape Experience5 The Visual System Uses Abstract Shape Properties6 Against Metric Views of Visual Shape Representation7 Neural Underpinnings of Abstract Shape Perception8 Implications. (shrink)

In resisting attempts to explain the unity of a whole in terms of a multiplicity of interacting parts, quantum mechanics calls for an explanatory concept that proceeds in the opposite direction: from unity to multiplicity. Being part of the Scientific Image of the world, the theory concerns the process by which (the physical aspect of) what Sellars called the Manifest Image of the world comes into being. This process consists in the progressive differentiation of an intrinsically undifferentiated entity. By entering (...) into reflexive spatial relations, this entity gives rise to (i) what looks like a multiplicity of relata if the reflexive quality of the relations is not taken into account, and (ii) what looks like a substantial expanse if the spatial quality of the relations is reified. If there is a distinctly quantum domain, it is a non-spatial and non-temporal dimension across which the transition from the unity of this entity to the multiplicity of the world takes place. Instead of being constituents of the physical world, subatomic particles, atoms, and molecules are instrumental in its manifestation. These conclusions are based on the following interpretive principle and its more direct consequences: whenever the calculation of probabilities calls for the addition of amplitudes, the distinctions we make between the alternatives lack objective reality. Applied to alternatives involving distinctions between regions of space, this principle implies that, owing to the indefiniteness of positions, the spatiotemporal differentiation of the physical world is incomplete: the existence of a real-valued spatiotemporal background is an unrealistic idealization. This guarantees the existence of observables whose values are real per se, as against “real by virtue of being indicated by the values of observables that are real per se.” Applied to alternatives involving distinctions between things, it implies that, intrinsically, all fundamental particles are numerically identical and thus identifiable with the aforementioned undifferentiated entity. (shrink)

This chapter explores a way in which visual processing may involve innate constraints and attempts to show how such processing overcomes one enduring challenge to nativism. In particular, many challenges to nativist theories in other areas of cognitive psychology have focused on the later development of such abilities, and have argued that such development is in conflict with innate origins. Innateness, in these contexts, is seen as antidevelopmental, associated instead with static processes and principles. In contrast, certain perceptual models demonstrate (...) how the very same mental processes can both be innately specified and yet develop richly in response to experience with the environment. This process is entirely unmysterious, as shown in certain formal theories of visual perception, including those that appeal to spontaneous endogenous stimulation and those based on Bayesian inference. (shrink)

This article deals with the cognitive relationship between a speaker and her internal grammar. In particular, it takes issue with the view that such a relationship is one of belief or knowledge (I call this view the ‘Propositional Attitude View’, or PAV). I first argue that PAV entails that all ordinary speakers (tacitly) possess technical concepts belonging to syntactic theory, and second, that most ordinary speakers do not in fact possess such concepts. Thus, it is concluded that speakers do not (...) literally ‘know’ or ‘believe’ much of the contents of their grammars, and moreover, that these contents can only be attributed at a subpersonal level. (shrink)

Michael Tye’s considered position on visual experience combines representationalism with externalism about color, so when considering spectrum inversion, he needs a principled reason to claim that a person with inverted color vision is seeing things incorrectly. Tye’s responses to the problem of the inverted spectrum ( 2000 , in: Consciousness, color, and content, The MIT Press, Cambridge, MA and 2002a , in: Chalmers (ed.) Philosophy of mind: classical and contemporary readings, Oxford University Press, Oxford) rely on a teleological approach to (...) the evolution of vision to secure the grounds upon which people with normal color vision can be justly called ‘right’ and those with inverted color vision can be called ‘wrong’. I demonstrate that since the inverted spectrum thought experiment requires that both sorts of vision be behaviorally indistinguishable, no biologically acceptable concept of teleology will allow Tye to draw the distinction he needs. (shrink)

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (shrink)

Whether understood as an adherence to the given, as an appeal to observe traditions, or as the wish to return to some bygone age, conservatism is bedevilled by paradoxes. The present essay attempts to overcome these paradoxes by putting forward a new conception of conservatism, identifying it as a worldview bent on the preservation of the totality of human knowledge with the aim of enhancing the survival chances of future generations. Conservatism thus understood targets the achievement of real knowledge. Hence (...) by necessity it must associate itself with a realist epistemology and ontology. I argue that any realism worthy of the name is common-sense realism, and that common-sense realism takes into account not merely the verbal level of cognition but also its visual and motor dimensions. The paper devotes special attention to Ludwig Wittgenstein, whose work has been intensively discussed in recent decades in the context both of conservatism and realism. (shrink)

What is the relation between Kanizsa's bias towards convexity and the Gestaltists' demonstrations that perceptual organization obeys a principle of pragnänz, or simplicity? Why should either kind of bias exist? Textbook accounts assign no functional role for these biases. Geon theory (Biederman 1987) proposes that we can understand these biases in terms of fundamental processes by which complex objects are decomposed into convex (or singly concave) regions at points of matched cusps according to the transversality regularity (Hoffman and Richards 1985). (...) Such decomposition yields simple, convex parts segmented between the concavities. A shape that contains concavities is generally regarded as complex insofar as it can be decomposed into the regions, or parts, between the concavities. It is these simple parts that are the stable elements of shape, not the whole object. In fact, geon theory leads to the expectation that shape recognition proceeds most efficiently when the parts are good (in the pragnänz sense) but the object is bad! (shrink)

In Origins of Objectivity Burge advances a theory of perception according to which perceptions are, themselves, objective representations. The possession of veridicality conditions by perceptual states—roughly, non-propositional analogues of truth-conditions—is central to Burge’s account of how perceptual states differ, empirically and metaphysically, from sensory states. Despite an impressive examination of the relevant empirical literatures, I argue here that Burge has not succeeded in securing a distinction between perception and “mere” sensation.

Most people find it obvious that concepts like APPLE, DOG, WATER, CACTUS, SWIM, CHIRP, FURRY, and SMOOTH are acquired from perceptual experiences along with some kind of inferential procedure. Models of how these concepts are inferentially acquired, however, force the acquired concepts to be representationally complex, built from, and composed by, the more primitive representations. Since at least the time of Plato, philosophers and psychologists have struggled to find complex sets of representations that have the same meanings, definitionally or probabilistically, (...) as these concepts. For example, to think about the property-kind being gold is not the same as to think about the complex property-kind being yellowish & shiny & malleable.... I call this Fodor's Challenge: Find an acquisition process that is genuinely inferential and yields a concept that genuinely is one of these lexical concepts. Rather than continue the pursuit of a complex representation that has the same meaning as our concept GOLD. I offer a model on which many lexical concepts are acquired from perception and inference, without being built up from, and composed by, the representations involved. The model, Baptizing Meanings for Concepts, is inspired in part by Saul Kripke's baptism process for assigning meanings to linguistic terms. Many lexical concepts, according to the BMC, are acquired by inferring the presence a new property-kind, picking out the property-kind in terms of those perceptible features, and then assigning a simple mental term, a concept, for that property-kind. (shrink)

Anthropomorphic language is constantly deployed in discussions of technology more generally and very specifically in discussions of artificial intelligence. Such language can obscure both what the technology actually does and what the challenges are to using it. Facial Recognition and autonomous vehicles both rely on a form of computer vision—not the same but related forms. This article seeks to deconstruct what is going on in these two technologies to give readers an ability to think critically about them as these are (...) technologies that will have broad social impacts and which are potentially dangerous to health and well-being. They will involve exercise of power by inscrutable algorithmic authority and it is important to think more deeply about them so that we can build a world we want to live in. (shrink)

For most archaeologists the meaning of prehistoric art appears to be grounded upon, if not synonymous with, the notion of representation and symbolism. This paper explores the possibility that the depictions we see already 30,000 years before present, for instance, at the caves of Chauvet and Lascaux, before and beyond representing the world, they first bring forth a new process of acting within this world and at the same time of thinking about it. It is argued that the unique ability (...) of those early depictions to disrupt or question the ways the world is experienced under normal conditions makes possible for the visual apparatus to interrogate itself and thus acquire a sense of perceptual awareness not previously available. (shrink)

Chomsky's current Biolinguistic methodology is shown to comport with what might be called 'established' aspects of biological method, thereby raising, in the biolinguistic domain, issues concerning biological autonomy from the physical sciences. At least current irreducibility of biology, including biolinguistics, stems in at least some cases from the very nature of what I will claim is physiological, or inter-organ/inter-component, macro-levels of explanation which play a new and central explanatory role in Chomsky's inter-componential explanation of certain properties of the syntactic component (...) of Universal Grammar. Under this new mode of explanation, certain physiological functions of cognitive mental organs are hypothesized, in an attempt to explain aspects of their internal anatomy. Thus, the internal anatomy of the syntactic component exhibits features that enable it to effectively interface with other 'adjacent' organs, such as the Conceptual-Intensional system and the Sensory- Motor system. These two interface systems take as their inputs the assembled outputs of the syntactic component and, as a result of the very syntactic structure imposed by the syntax are then able to assign their sound and meaning interpretations. If this is an accurate characterization, Chomsky's long-standing postulation of mental organs, and I will argue, the advancement of new hypotheses concerning physiological inter-organ functions, has attained in current biolinguistic Minimalist method a significant unification with foundational aspects of physiological explanation in other areas of biology. (shrink)

Seeking to avoid the typical binary choices between symbolic representations and no representations, or between functionally decomposable psychological processes and no psychological processes, or between direct perception of mind-independent physical properties and indirect perception of sense data, this article proposes that even a clear-thinking friend of Gibson can accept that perception of the environment is mediated by appearances and that such appearances are produced by functionally decomposable, rule-instantiating psychological processes. In so doing, it avoids both hyper-intellectualization of the perceptual process (...) and the positing of sense data as immediate objects of perception. It considers notions of perceptual mediation from classical Gestalt psychology, while referencing recent phenomenological arguments showing that perception does not simply conform to mind-independent physical properties. Perception presents objects and scenes under a phenomenal aspect, in a manner suitable to be action-guiding. Finally, it examines neuroscientific decompositions of Gibsonian information pickup mechanisms, finding that such mechanisms are reasonably described as effecting processes of construction. As a separate point, such mechanisms are usefully described as including subpersonal, non-symbolic representations and processes of information integration. (shrink)

Despite a wealth of data we still have no clear idea what color experiences represent. In fact, color experiences vary with so many factors that it has been claimed that they do not represent anything at all. The primary challenge for any representational account of color experience is to accommodate the various psychophysical results that demonstrate that color appearance depends not only on the spectral nature of the target but also on the spectral, spatial and figural nature of the surround. (...) A number of theorists have proposed that this dependence is an aspect of the visual system's constancy mechanism. However this does not in and of itself tell us what, if anything, is represented in color experience. Ultimately the answer to this question will be informed by one's theory of representational content. I will argue that adopting a molecular scheme of representation enables the development of an account of the represented object of color experience that can do justice to the psychophysical data. (shrink)

The subject of the present thesis is the phenomenon of simultaneous colour contrast: As is well known, the perceived colour of a given light stimulus depends almost as strongly on the stimulation of neighbouring regions of the visual field as on the local stimulus itself. Thus, the perceived colour of a target stimulus can be manipulated either by changing the colour co-ordinates of the target itself, or, alternatively, by changing the colour co-ordinates of the surround. Classical models of simultaneous contrast (...) are based on the implicit assumption that the changes in perceived colour brought about by these two kinds of manipulation are basically of the same kind, and thus may compensate each other. This ‘compensation assumption’ is equivalent to the widespread assumption that the space of perceived colours is three-dimensional. In principle, though, the well-established facts of trichromatic theory are compatible with a dimensionality of the space of perceived colours higher than three (namely three times the number of differently coloured regions in the visual field). One of the central results of the present investigations is that the compensation assumption seems to be unwarranted in the case of simple centre-surround stimuli. This instilled the expectation that classical methods for measuring simultaneous contrast effects, such as grey settings and asymmetric colour matching, may sometimes be inappropriate, and thus yield misleading results. In further experiments it is shown that this is indeed the case when uniformly coloured surrounds are used. In the case of variegated surrounds, however, matters appear to be much less complicated. This difference seems to be due to impressions of perceptual transparency being evoked by uniform surrounds, but not by variegated ones. (shrink)