Current theories assume that perception and affect are separate realms of the mind. In contrast, we argue that affect is a genuine online-component of perception instantaneously mirroring the success of different perceptual stages. Consequently, we predicted that the success (failure) of even very early and cognitively encapsulated basic visual Processing steps would trigger immediate positive (negative) affective responses. To test this assumption, simple visual stimuli that either allowed or obstructed early visual processing stages without participants being aware of this were (...) presented briefly. Across 5 experiments, we found more positive affective responses to stimuli that allowed rather than obstructed Gestalt completion at certain early visual stages (Experiments 1–3; briefest presentation 100 ms with post-mask), and visual disambiguation in possible vs. impossible Necker cubes (Experiments 4 and 5; briefest presentation 100 ms with post-mask). This effect was observed both on verbal preference ratings (Experiments 1, 2, and 4) and as facial muscle responses occurring within 2–4 s after stimulus onset (zygomaticus activity; Experiments 3 and 7). For instance, in participants unaware of spatial possibility we found affective discrimination between possible and impossible Necker cubes (the famous Freemish Crate) for 100 ms presentation timings, although a conscious discrimination took more than 2000 ms (Experiment 4). (shrink)

The global/local contrast is ubiquitous in mathematics. This paper explains it with straightforward examples. It is possible to build a circular staircase that is rising at any point (locally) but impossible to build one that rises at all points and comes back to where it started (a global restriction). Differential equations describe the local structure of a process; their solution describes the global structure that results. The interplay between global and local structure is one of the great themes of mathematics, (...) but rarely discussed explicitly. (shrink)

According to anti-atomism, we represent color properties (e.g., red) in virtue of representing color relations (e.g., redder than). I motivate anti-atomism with a puzzle involving a series of pairwise indistinguishable chips. I then develop two versions of anti-atomism.

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

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.

Very often, objects in the scene before us are somehow perceived to be constant or uniform or unchanging in color, shape, size, or position, even while their appearance with respect to these features somehow changes. This is a familiar and pervasive fact about perception, even if it is notoriously difficult to describe accurately let alone adequately account for. These difficulties are not unrelated—how we are inclined to describ the phenomenology of perceptual constancy will affect how we are inclined to accoun (...) for it. (shrink)

The money-pump argument aims to show that cyclic preferences are irrational. The argument can be based on a number of different exploitation schemes that vary in what needs to be assumed about the agent. The Standard Money Pump works for myopic and naive agents, but not for sophisticated agents who use backward induction. The Upfront Money Pump works for sophisticated agents, but not for myopic or naive agents. In this paper, I present a new money pump, the Universal Money Pump, (...) that works for myopic, naive, and sophisticated agents. Moreover, the Universal Money Pump (just like the Upfront Money Pump) also works for minimally sophisticated agents who need not assume that they will choose rationally at nodes that can only be reached by irrational choices. This enables an argument that rational preferences are acyclic, which is based on weaker assumptions about dynamic rationality than existing money-pump arguments. (shrink)

According to Richard Routley, a comprehensive theory of fiction is impossible, since almost anything is in principle imaginable. In my view, Routley is right: for any purported logic of fiction, there will be actual or imaginable fictions that successfully counterexample the logic. Using the example of ‘impossible’ fictions, I test this claim against theories proposed by Routley’s Meinongian contemporaries and also by Routley himself and his 21st century heirs. I argue that the phenomenon of impossible fictions challenges even today’s modal (...) Meinongians. (shrink)

In this paper, I appeal to a distinction made by David Lewis between identifying and determining semantic content in order to defend a complementarity thesis expressed by Anjan Chakravartty. The thesis states that there is no conflict between informational and functional views of scientific modeling and representation. I then apply the complementarity thesis to well-received theories of pictorial representation, thereby stressing the fruitfulness of drawing an analogy between the nature of fictions in art and in science. I end by attending (...) to the problem of depicting impossible fictions. It is suggested that progress can be made by understanding the role of impossible fictions in science, namely, allowing researchers to probe into the possible structure and representational capacities of scientific theory. (shrink)

Un enjeu majeur pour les recherches actuelles dans les sciences de la vision consiste à mettre au point une approche dépendante de l’observateur – une science des apparences visuelles située au-delà de leur véridicité. L’espace dont nous faisons l’expérience subjective est en réalité hautement « illusoire», et les éléments de base du champ visuel sont des structures qualitatives, contextuelles et relationnelles, et non des indices métriques et dépendants du stimulus. Sur la base de nombreux résultats disponibles dans la littérature traitant (...) de la manière dont fonctionnent les divers constituants de l’espace (formes, surfaces, etc.), l’article décrit les éléments qualitatifs de base d’un tel espace et pose la question de la « géométrie» des apparences visuelles. Il formule enfin un ensemble de propositions pour d’éventuelles recherches poursuivant l’examen de l’espace visuel d’un point de vue expérimental. (shrink)

The apparent dichotomy between qualitative versus quantitative dimensions in science intersects with the domain of several disciplines, as well as different research fields within one and the same discipline. The perception of qualitative as “poor quantitative,” however, is methodologically unsustainable, because there are perfectly rigorous ways to conduct qualitative research. A somehow different question is whether a science of qualities per se is possible: that is, whether a science of appearances can be devised, what its observables are, and its methodological (...) implications. The article deals with this last issue, and especially from the point of view of experimental phenomenology. The weakness of the current approach to perception is discussed, and an alternative view that goes beyond veridicalism is presented. The analysis tackles crucial issues such as color and spatial appearances, the qualitative dimension of perceived depth, and the role of visual meaningful gestalten as information tools for the survival of living beings in the environment. If developed, a science of the qualitative dimensions of appearances may contribute to revising the ecological theory of perception by making its natural semantics more explicit. (shrink)

Some (Podro, Lopes) think that sometimes our experience of pictures is ‘inflected’. What we see in these pictures involves, somehow, an awareness of features of their design. I clarify the idea of inflection, arguing that the thought must be that what is seen in the picture is something with properties which themselves need characterising by reference to that picture’s design, conceived as such. I argue that there is at least one case of inflection, so understood. Proponents of inflection have claimed (...) great significance for the phenomenon. But what might that significance be? Inter alia, I consider Lopes’s proposal that inflection solves a central problem in pictorial aesthetics, the ‘puzzle of mimesis’. I argue that the puzzle, and the proposed solution, both turn on aspects of Lopes’s conception of seeing-in. Other accounts of seeing-in can make no sense of either. I further argue that the phenomenon of inflection itself puts pressure on the sort of account Lopes offers. Thus it is hard to offer a view which both holds that inflection occurs and is able to make clear sense of why it matters. (shrink)

The question of the interpretation of impossible pictures is taken up. Penrose's account is reviewed. It is argued that whereas this account makes substantial inroads into the problem, there needs to be a further ingredient. An inconsistent account using heap models is proposed.

Most discussions frame the Liar Paradox as a formal logical-linguistic puzzle. Attempts to resolve the paradox have focused very little so far on aspects of cognitive psychology and processing, because semantic and cognitive-psychological issues are generally assumed to be disjunct. I provide a motivation and carry out a cognitive-computational treatment of the liar paradox based on a cognitive-computational model of language and conceptual knowledge within the Predictive Processing framework. I suggest that the paradox arises as a failure of synchronization between (...) two ways of generating the liar situation in two different PP sub-models, one corresponding to language processing and the other to the processing of meaning and world-knowledge. In this way, I put forward the claim that the liar sentence is meaningless but has an air of meaningfulness. I address the possible objection that the proposal violates the Principle of Unrestricted Compositionality, which purportedly regulates the conceptual competence of thinkers. (shrink)

The title of this presentation encompasses three issues: (1) an enigmatic theme (the play of signs and signs of play); (2) a model of doing something, such as unraveling a puzzle; and (3) a methodology dealing with a probable case. Considering that the order of analysis runs in the opposite direction to the order of experience, my first task is to reverse the title. Then, its three parts become: (1) an eidetic and empirical conjunction that implies a taste for evidence; (...) (2) a rigorous model of analysis that implies a relationship between ontology (what I know) and epistemology (how I know); and (3) a case that brings an enigmatic theme. My title, based in the theme of our 42nd Annual Meeting, provided an experience peculiar to a non-native English speaker: how to interpret and use the word “play”. I really felt like I was a living exemplar of one of Professor Lanigan’s favorite examples: what dictionaries and encyclopedias say or do not say. Lanigan said that “dictionaries tell you how to use the words (forms, ideas) but not what word to use” and “encyclopedias tell you what facts to use (structure, experience), but not how to use them” (1992: 208–209). That was my situation with the word “play”. Webster’s dictionary gave me around fifty different meanings for the word “play”. Which one should I choose? I am sure that I made the best choice, as I will demonstrate throughout this presentation, organized around these three ideas that in an inverse order would be theory, method, and case. (shrink)