In this paper we argue that object perception may be affected by what we call “perceptual frames.” Perceptual frames are adaptations of the perceptual system that guide how perceptual objects are singled out from a sensory environment. These adaptations are caused by perceptual learning and realized through bottom-up functional processes such that sensory information is organized in a subject-dependent way leading to idiosyncratic perceptual object representations. Through domain-specific training, perceptual learning, and the acquisition of object-knowledge, it is possible to modulate (...) the adaptive perceptual system such that its ability to represent becomes bespoke. Different perceivers with different perceptual frames may, therefore, receive the same sensory information and perceive different perceptual objects due to the effects of framing. Consequently, we demonstrate the plausibility of this account by surveying empirical data concerning the functions of (1) multisensory integration, (2) amodal completion, and (3) predictive anticipation. Regarding (1), we argue that the perceptual system’s optimization processes employ perceptual frames to facilitate multisensory feature binding. Regarding (2), we argue that amodal completion can occur with or without the help of mental imagery, yet either instance of amodal completion requires perceptual frames. Regarding (3), we demonstrate that perceptually anticipating an object’s motion involves the implementation of perceptual frames. We conclude that framing effects are a matter of perceptual diversity and highlight the need to accommodate unique perspectives in the philosophy and science of perception. (shrink)

Perhaps a part of what makes expertise so inspiring to the curious researcher is the possibility of appropriating the structural components of skilled action to draw a roadmap towards their achievement that anyone might be able to follow. Accordingly, the purpose of this essay is to shed light upon the role that creativity plays in the production and environment of skilled action to that foregoing end. In doing so, I suggest that the lessons to be learned from recent empirical research (...) on creativity has much to offer to the cognitive science of skill and expertise. Experts are able to bring their intelligence to bear in controlling fast and seemingly automatic actions by utilizing a form of control often called ‘intelligent automaticity.’ In this spirit, I argue that the environment of intelligently automatic action control curates a similarly ideal environment for the processes of creativity. Moreover, insofar as creativity is ideally operative within the environment of expert action control, I argue further that creativity functions as one representative form of ‘intelligence’ embedded within otherwise fluid, and automatic expert actions. Creativity is able to do so even without conscious representation through the powers of incubated cognition. (shrink)