This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that motion is (...) really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

The ability to perceive the shapes of things as enduring through changes in how they stimulate our sense organs is vital to our sense of stability in the world. But what sort of capacity is shape constancy, and how is it reflected in perceptual experience? This paper defends a pluralist account of shape constancy: There are multiple kinds of shape constancy centered on geometrical properties at various levels of abstraction, and properties at these various levels feature in the content of (...) perceptual experience, governing patterns of apparent shape similarity. I propose that the varieties of shape constancy are subserved by the syntactic complexity of perceptual shape representations. By assigning discrete constituents to various abstract shape parameters, these representations attune us to the preservation of certain abstract shape properties through changes in more determinate shape properties. Finally, I draw broader lessons concerning the nature and function of perceptual constancy. (shrink)

The aim of this paper is to argue that there is no unproblematic way of delineating perceptual beliefs from non-perceptual beliefs. The concept of perceptual belief is one of the central concepts not only of philosophy of perception but also of epistemology in a broad foundationalist tradition. Philosophers of perception talk about perceptual belief as the interface between perception and cognition and foundationalist epistemologists understand perceptual justification as a relation between perceptual states and perceptual beliefs. We consider three ways of (...) cashing out the difference between perceptual and non-perceptual beliefs (semantic, justificatory, and etiological) and argue that none of them works. Finally, we explore the possibility of understanding perceptual justification without relying on the concept of perceptual beliefs. (shrink)

In this article, I argue that pictorial styles are individuated in terms of different degrees of determinacy. For example, Morandi’s still-life etchings and Monet’s cathedral paintings embody different styles in that in the former, shape properties are differentiated in a fine-grained manner, and in the latter, coarse grained. I develop this view by critically examining John Kulvicki’s analysis of how we interpret pictures. According to Kulvicki, we rarely interpret pictures as differing in terms of features that belong to the vehicle (...) of representation—that is, the design-content relation. Rather, he thinks that we individuate pictorial styles in terms of the content that each picture represents. Contra Kulvicki, I argue that we interpret the vehicular features of pictures in light of our knowledge of picture production, and that the diversity of pictorial styles involves both content and vehicle. (shrink)

Intentionalism about visual experiences is the view according to which the phenomenal character of a visual experience supervenes on the content of this experience. One of the most influential objections to this view is about blur: seeing a fuzzy contour clearly and seeing a sharp contour blurrily have different phenomenal character but the same content. I argue that this objection does not work if we understand perceptual content simply, and not particularly controversially, as partly constituted by the sum total of (...) perceptually attributed properties, some determinable, some determinate. (shrink)

Recent philosophical and empirical contributions strongly suggest that perception attributes determinable properties to its objects. But a characterisation of determinability via attributed properties is restricted to the level of content and does not capture the difference between perceptual belief and perception on this score. In this paper, I propose a formal way of cashing out the difference between determinable belief and perception. On the view presented here, determinability in perception distinctively involves homogeneous representation or representation that exhibits special sorts of (...) formal type variability. This formal characterisation, I suggest, goes beyond traditional approaches to analog representation and parallels a baseline notion of analog computation. (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)

Analog representation is often cast in terms of an engineering distinction between smooth and discrete systems. The engineering notion cuts across interesting representational categories, however, so it is poorly suited to thinking about kinds of representation. This paper suggests that analog representations support a pattern of interaction, specifically open-ended searches for content across levels of abstraction. They support the pattern by sharing a structure with what they represent. Continuous systems that satisfy the engineering notion are exemplars of this kind because (...) they are uninterpretable unless they are structure-preserving. Analog representations, so understood, include pictures, images, diagrams, and most graphs. This conception of analogicity also fits well with a line of thought about what makes perceptual states distinctive: they satisfy a “parts principle”. (shrink)

Problems concerning scientists’ uses of representations have received quite a bit of attention recently. The focus has been on how such representations get their contents and on just what those contents are. Less attention has been paid to what makes certain kinds of scientific representations different from one another and thus well suited to this or that epistemic end. This article considers the latter question with particular focus on the distinction between images and graphs on the one hand and descriptions (...) and related representations on the other. *Received January 2008; revised September 2009. †To contact the author, please write to: Department of Philosophy, Dartmouth College, Hanover, NH 03755; e‐mail: [email protected]. (shrink)

The distinction between perception and cognition has always had a firm footing in both cognitive science and folk psychology. However, there is little agreement as to how the distinction should be drawn. In fact, a number of theorists have recently argued that, given the ubiquity of top-down influences, we should jettison the distinction altogether. I reject this approach, and defend a pluralist account of the distinction. At the heart of my account is the claim that each legitimate way of marking (...) a border between perception and cognition deploys a notion I call ‘stimulus-control.’ Thus, rather than being a grab bag of unrelated kinds, the various categories of the perceptual are unified into a superordinate natural kind. (shrink)

I identify three aspects to the puzzle of the speckled hen: A general puzzle, an epistemic puzzle, and a puzzle for the representationalist. These puzzles rely on an underlying “pictorialist” assumption, that we visually perceive general, determinable properties only in virtue of determinate properties or more specific, local features of our visual experience. This assumption is mistaken: Visual perception frequently starts from a position of uncertainty, and is routinely able to acquire information about general properties in the absence of more (...) specific information. Acknowledging that visual indeterminacy is structured this way resolves all three puzzles of the speckled hen. (shrink)