This article sketches an idealized strategy for the identification of neural correlates of consciousness. The proposed strategy is based on a state space approach originating from the analysis of dynamical systems. The article then focuses on one constituent of consciousness, phenomenal awareness. Several rudimentary requirements for the identification of neural correlates of phenomenal awareness are suggested. These requirements are related to empirical data on selective attention, on completely intrinsic selection and on globally unconscious states. As an example, neuroscientific findings on (...) synchronized γ activity are categorized according to these requirements. (shrink)

Our pains can be more or less intense, our mental imagery can be more or less vivid, our perceptual experiences can be more or less striking. These degrees of intensity of conscious experiences are all manifestations of a phenomenal property I call mental strength. In this article, I argue that mental strength is a domain-general phenomenal magnitude; in other words, it is a phenomenal quantity shared by all conscious experiences that explains their degree of felt intensity. Mental strength has been (...) largely overlooked in favor of mental states’ type, representational contents, domain-specific phenomenology, or processes such as attention. Considering mental strength in our reflections about the mind illuminates debates about the relation of representational contents and phenomenal character, and it also helps address questions about the structure and functions of consciousness. Mental strength provides a unifying construct to model what is shared in the phenomenology of different types of conscious experiences. (shrink)

How might attention intersect with normative issues and the psychology surrounding them? I provide an empirically grounded framework integrating three attentional phenomena: salience, vigilance (or broadly attunement) and attentional character. Using this frame, I review recent philosophical work on attention and norms. -/- Section 1 establishes a common ground conception of attention no more controversial than the established experimental paradigms for attention. This conception explicates the concept of a bias, which explains core features of action and attention, one that intersects (...) biological, psychological and philosophical concerns. I emphasize historical biases associated with learning and experience. Section 2 presents an analysis of automaticity and control, concepts needed to fully characterize action. Historical biases are revealed as automatic. Specifically, the automatization of attention is central to acquiring skills and excellence in light of normative standards for a practice. Section 3 argues that salience involves the deployment of attention, while Section 4 characterizes vigilance not merely as a disposition but as an active orientation to attend. Vigilance is one type of attunement, and the set of attunements constitutes the agent’s varied orientations to deploy attention, part of their attentional character. As discussed in Section 5, shaping this character is a goal of a normatively sensitive upbringing where appropriate attention is automatized through proper practice. Section 6 examines a common epistemic bias in academia and subsequent attempts to debias. I conclude with an example of acquired epistemic skill to give hope that attentional excellence is achievable. (shrink)

The origin of colour categories and their relationship to colour perception have been the prime example for testing the influence of language on perception and thought and more generally for investigating the biological, ecological and cultural determination of human cognition. These themes are central to a broad range of disciplines, including vision research, neuroscience, cognitive psychology, developmental science, cultural anthropology, linguistics, computer science, and philosophy. Unfortunately, though, it has been tacitly taken for granted that the conceptual assumptions and methodological practices (...) from the dawn of empirical research on colour categorisation are the gold standard for current colour category research. Here, we show that these assumptions and practices are obsolete and flawed and have led to four fundamental and widespread misconceptions about colour categorisation: 1.) that colour perception is inherently categorical; 2.) that English Basic Colour Terms correspond to universal categories that are the end point of a fixed evolutionary sequence; 3.) that the prototypes of English basic colour terms are perceptually salient and qualify as focal colours; and 4.) that colour category research essentially revolves around the universalism-realism debate. State-of-the-art research on colour categorisation provides new, more sophisticated approaches and allows for rectifying those four statements. At the same time, some of the questions underlying those statements are not convincingly answered yet and constitute major challenges to future research. The critical considerations on colour categorisation may be transferred to research on other kinds of perceptual categorisation to inspire new, more general research questions. (shrink)

The question regarding how to characterize aesthetics has been revived with the publication of Bence Nanay’s _Aesthetics as Philosophy of Perception_. This paper takes seriously Dustin Stokes’ criticisms of Nanay’s book regarding Nanay’s inability to distinguish between ordinary expert visual tasks (e.g., sorting for sock color or ornithology) and aesthetic experience. Using empirical research on gist perception and its reliance on low-level features in visual experience, I develop a theory that distinguishes expert visual tasks and aesthetic experiences by differentiating two (...) different kinds of distributed attention over properties. I argue that expert visual tasks are instances of property attribution in a mode of conscious attention, while aesthetics is a kind of distributed attention that significantly relies on the reiteration of gist-like lowlevel features. Gist, often referred to in visual science as “preattentive” mode, gives us a model to understand the perceptual processes that are specific to aesthetics. This comports with our common-sense definition of aesthetics as both distinguishable from ordinary expert visual tasks and an experience that makes prominent sensory aspects of visual experience. (shrink)

To make behavioral choices that are in line with our goals and our moral beliefs, we need to gather and consider information about our current situation. Most information present in our environment is not relevant to the choices we need or would want to make and thus could interfere with our ability to behave in ways that reflect our underlying values. Certain sources of information could even lead us to make choices we later regret, and thus it would be beneficial (...) to be able to ignore that information. Our ability to exert successful self-governance depends on our ability to attend to sources of information that we deem important to our decision-making processes. We generally assume that, at any moment, we have the ability to choose what we pay attention to. However, recent research indicates that what we pay attention to is influenced by our prior experiences, including reward history and past successes and failures, even when we are not aware of this history. Even momentary distractions can cause us to miss or discount information that should have a greater influence on our decisions given our values. Such biases in attention thus raise questions about the degree to which the choices that we make may be poorly informed and not truly reflect our ability to otherwise exert self-governance. (shrink)

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)

Comics are complex multimodal documents that make for intriguing materials to analyze with computer vision and computational linguistics. This review summarizes the growing developments in computational modeling which have been progressing to analyze visual narratives across their various substructures.

Drawing on the empirical premise that attention makes objects look more intense, Ned Block has argued for mental paint, a phenomenal residue that cannot be reduced to what is perceived or represented. If sound, Block's argument would undermine direct realism and representationism, two widely held views about the nature of conscious perception. We argue that Block's argument fails because the empirical premise it is based upon is false. Attending to an object alters its salience, but not its perceived intensity. We (...) also argue that salience should be equated with mental primer, a close cousin of mental paint that reintroduces difficulties for direct realism and representationism. The upshot is that direct realism and representationism are still in trouble, but not for the reason that Block thinks. (shrink)

Ballard and Zhang offer a fascinating review of how computational models of human vision have evolved since David Marr proposed his Tri‐Level Hypothesis, with a focus on the refinement of algorithm descriptions over time.