In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with those objects (...) and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

We examine a number of investigations of perceptual economy or, more specifically, of minimum tendencies and minimum principles in the visual perception of form, depth, and motion. A minimum tendency is a psychophysical finding that perception tends toward simplicity, as measured in accordance with a specified metric. A minimum principle is a theoretical construct imputed to the visual system to explain minimum tendencies. After examining a number of studies of perceptual economy, we embark on a systematic analysis of this notion. (...) We examine the notion that simple perceptual representations must be defined within the "geometric constraints" provided by proximal stimulation. We then take up metrics of simplicity. Any study of perceptual economy must use a metric of simplicity; the choice of metric may be seen as a matter of convention, or it may have deep theoretical and empirical implications. We evaluate several answers to the question of why the visual system might favor economical representations. Finally, we examine several accounts of the process for achieving perceptual economy, concluding that those which favor massively parallel processing are the most plausible. (shrink)