Animate vision systems have gaze control mechanisms that can actively position the camera coordinate system in response to physical stimuli. Compared to passive systems, animate systems show that visual computation can be vastly less expensive when considered in the larger context of behavior. The most important visual behavior is the ability to control the direction of gaze. This allows the use of very low resolution imaging that has a high virtual resolution. Using such a system in a controlled way provides (...) additional constraints that dramatically simplify the computations of early vision. Another important behavior is the way the environment “behaves‘. Animate systems under real-time constraints can further reduce their computational burden by using environmental cues that are perspicuous in the local context. A third source of economy is introduced when behaviors are learned. Because errors are rarely fatal, systems using learning algorithms can amortize computational cost over extended periods. Further economies can be achieved when the learning system uses indexical reference, which is a form of dynamic variable binding. Animate vision is a natural way of implementing this dynamic binding. (shrink)

Noël Carroll; Art and Human Nature, The Journal of Aesthetics and Art Criticism, Volume 62, Issue 2, 5 May 2004, Pages 95–107, https://doi.org/10.1111/j.1540-59.

A critical survey of the main philosophical theories about events and event talk, organized in three main sections: (i) Events and Other Categories (Events vs. Objects; Events vs. Facts; Events vs. Properties; Events vs. Times); (ii) Types of Events (Activities, Accomplishments, Achievements, and States; Static and Dynamic Events; Actions and Bodily Movements; Mental and Physical Events; Negative Events); (iii) Existence, Identity, and Indeterminacy.

The abstract structure of inquiry - the process of acquiring and changing beliefs about the world - is the focus of this book which takes the position that the "pragmatic" rather than the "linguistic" approach better solves the philosophical problems about the nature of mental representation, and better accounts for the phenomena of thought and speech. It discusses propositions and propositional attitudes (the cluster of activities that constitute inquiry) in general and takes up the way beliefs change in response to (...) potential new information, suggesting that conditional propositions should be understood as projections of epistemic policies onto the world.Robert C. Stalnaker is a professor in the Sage School of Philosophy at Cornell University. A Bradford Book. (shrink)

This is the first of three volumes on the subject of innateness. The extent to which the mind is innate is one of the central questions in the human sciences, with important implications for many surrounding debates. This book along with the following two volumes provide assess of nativist thought and a definitive reference point for future nativist inquiry. This book is concerned with the fundamental architecture of the mind, addressing such question as: what capacities, processes, representations, biases, and connections (...) are innate? How do these innate elements feed into a story about the development of our mature cognitive capacities, and which of them are shared with other members of the animal kingdom? The book includes an introduction giving some of the background to debates about innateness and introducing each of the subsequent chapters, as well as a consolidated bibliography. (shrink)

This book is the second of a three-volume set on the subject of innateness. The book is highly interdisciplinary, and addresses such question as: to what extent are mature cognitive capacities a reflection of particular cultures and to what extent are they a product of innate elements? How do innate elements interact with culture to achieve mature cognitive capacities? How do minds generate and shape cultures? How are cultures processed by minds?

Perceptual experiences justify beliefs—that much seems obvious. As Brewer puts it, “sense experiential states provide reasons for empirical beliefs” (this volume, xx). In Mind and World McDowell argues that we can get from this apparent platitude to the controversial claim that perceptual experiences have conceptual content: [W]e can coherently credit experiences with rational relations to judgement and belief, but only if we take it that spontaneity is already implicated in receptivity; that is, only if we take it that experiences have (...) conceptual content. (1994, 162) Brewer agrees. Their view is sometimes called conceptualism; nonconceptualism is the rival position, that experiences have nonconceptual content. One initial obstacle is understanding what the issue is. What is conceptual content, and how is it different from nonconceptual content? Section 1 of this paper explains two versions of each of the rival positions: state (non)conceptualism and content (non)conceptualism; the latter pair is the locus of the relevant dispute. Two prominent arguments for content nonconceptualism—the richness argument and the continuity argument—both fail (section 2). McDowell’s and Brewer’s epistemological defenses of content conceptualism are also faulty (section 3). Section 4 gives a more simple-minded case for conceptualism; finally, some reasons are given for rejecting the claim—on one natural interpretation—that experiences justify beliefs. (shrink)

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Recreative Minds develops a philosophical theory of imagination that draws upon the latest work in psychology. This theory illuminates the use of imagination in coming to terms with art, its role in enabling us to live as social beings, and the psychological consequences of disordered imagination. The authors offer a lucid exploration of a fascinating subject.

This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

The everyday capacity to understand the mind, or 'mindreading', plays an enormous role in our ordinary lives. Shaun Nichols and Stephen Stich provide a detailed and integrated account of the intricate web of mental components underlying this fascinating and multifarious skill. The imagination, they argue, is essential to understanding others, and there are special cognitive mechanisms for understanding oneself. The account that emerges has broad implications for longstanding philosophical debates over the status of folk psychology. Mindreading is another trailblazing volume (...) in the prestigious interdisciplinary Oxford Cognitive Science series. (shrink)

A scientific community cannot practice its trade without some set of received beliefs. These beliefs form the foundation of the "educational initiation that prepares and licenses the student for professional practice". The nature of the "rigorous and rigid" preparation helps ensure that the received beliefs are firmly fixed in the student's mind. Scientists take great pains to defend the assumption that scientists know what the world is like...To this end, "normal science" will often suppress novelties which undermine its foundations. Research (...) is therefore not about discovering the unknown, but rather "a strenuous and devoted attempt to force nature into the conceptual boxes supplied by professional education". (shrink)

A revised translation of Heidegger's most important work.

What makes this work so important is that it returned the body to the forefront of philosophy for the first time since Plato.

In an earlier paper, "Non-conceptual Content and the 'Space of Reasons'", I distinguished two forms of the view that perceptual content is non-conceptual, which I called the 'state view' and the 'content view'. On the latter, but not the former, perceptual states have a different kind of content than do cognitive states. Many have found it puzzling why anyone would want to make this claim and, indeed, what it might mean. This paper attempts to address these questions.

In Mind and World, John McDowell argues against the view that perceptual representation is non-conceptual. The central worry is that this view cannot offer any reasonable account of how perception bears rationally upon belief. I argue that this worry, though sensible, can be met, if we are clear that perceptual representation is, though non-conceptual, still in some sense 'assertoric': Perception, like belief, represents things as being thus and so.

What makes pictures different from all of the other ways we have of representing things? Why do pictures seem so immediate? What makes a picture realistic or not? Against prevailing wisdom, Kulvicki claims that what makes pictures special is not how we perceive them, but how they relate to one another. This not only provides some new answers to old questions, but it shows that there are many more kinds of pictures out there than many have thought.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Semantic Engines: An Introduction to Mind Design, John C. Haugeland; Computer Science as Empirical Inquiry: Symbols and Search, Alan Newell and Herbert A. Simon; Complexity and the Study of Artificial and Human Intelligence, Zenon Pylyshyn; A Framework for Representing Knowledge, Marvin Minsky; Artificial Intelligence---A Personal View, David Marr; Artificial Intelligence Meets Natural Stupidity, Drew McDermott; From Micro-Worlds to Knowledge Representation: AI at an Impasse, Hubert L. Dreyfus; Reductionism and the Nature of Psychology, Hilary Putnam; Intentional Systems, Daniel C. Dennett; The (...) Nature and Plausibility of Cognitivism, John C. Haugeland; Minds, Brains, and Programs, John R. Searle; MethodologicalSolipsism Considered as a Research Strategy in Cognitive Psychology, Jerry A. Fodor; The Material Mind, Donald Davidson. (shrink)

Brain damage may doubly dissociate cognitive modules, but the practice of revealing dissociations is predicated on modularity being true (T. Shallice, 1988). This article questions the utility of assuming modularity, as it examines a paradigmatic double dissociation of reading modules. Reading modules illustrate two general problems. First, modularity fails to converge on a fixed set of exclusionary criteria that define pure cases. As a consequence, competing modular theories force perennial quests for purer cases, which simply perpetuates growth in the list (...) of exclusionary criteria. The first problem leads, in part, to the second problem. Modularity fails to converge on a fixed set of pure cases. The second failure perpetuates unending fractionation into more modules. (shrink)

It is argued that the intuitively sanctioned distinction between beliefs and non-belief states that play a role in the proximate causal history of beliefs is a distinction worth preserving in cognitive psychology. The intuitive distinction is argued to rest on a pair of features exhibited by beliefs but not by subdoxastic states. These are access to consciousness and inferential integration. Harman's view, which denies the distinction between beliefs and subdoxastic states, is discussed and criticized.

Recent accounts of pretense have been underdescribed in a number of ways. In this paper, we present a much more explicit cognitive account of pretense. We begin by describing a number of real examples of pretense in children and adults. These examples bring out several features of pretense that any adequate theory of pretense must accommodate, and we use these features to develop our theory of pretense. On our theory, pretense representations are contained in a separate mental workspace, a Possible (...) World Box which is part of the basic architecture of the human mind. The representations in the Possible World Box can have the same content as beliefs. Indeed, we suggest that pretense representations are in the same representational ``code'' as beliefs and that the representations in the Possible World Box are processed by the same inference and UpDating mechanisms that operate over real beliefs. Our model also posits a Script Elaborator which is implicated in the embellishment that occurs in pretense. Finally, we claim that the behavior that is seen in pretend play is motivated not from a ``pretend desire'', but from a real desire to act in a way that ®ts the description being constructed in the Possible World Box. We maintain that this account can accommodate the central features of pretense exhibited in the examples of pretense, and we argue that the alternative accounts either can't accommodate or fail to address entirely some of the central features of pretense. q 2000 Elsevier Science B.V. All rights reserved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Know-How of Musical PerformanceStephen DaviesMusicians make music; that is, the performance of music involves applied knowledge or know-how. Can we attain a discursive understanding of what the musician does, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what we say turn a living practice into (...) a dead object? In this discussion, I aim to clarify the issues in terms of which these questions can be developed.Consider acquired practical knowledge or'knowing how.'1 It involves a learned skill or capacity to do something-typically, to perform an action-as in "I know how to ride a unicycle."2 'Knowing how'can be subdivided into types. A first variety is always conscious. For most people, mental arithmetic is of this kind. It is not mental arithmetic they are doing if they do not follow an appropriate rule, algorithm, procedure, or principle, even if they fluke the right answer. Many practical skills are of this sort. I know how to fill in tax forms, immigration documents, and hire purchase agreements. In all these cases, the working of the skill and the steps through which it is exercised are held inevitably before my mind. A second type of 'knowing how' might be termed "retrievable." I know how to drive a car. Most of the time, I am not aware of the processes, judgments, and procedures that are [End Page 154] involved. I do not have to think about my driving as I drive. Nevertheless, if I reflect on what I do, I can describe the steps or routines I go through. A third type of 'knowing how' is cognitively impenetrable. Cognitively impenetrable processes are opaque to introspection. Some bit of neurological hardware receives an input, processes it, and outputs some result, but the nature of that processing is not retrievable by consciousness. The skill is learned but the many computational, muscular, kinaesthetic, or other activities involved in the skill's application or execution are not available to the agent's awareness. From my own case, typical examples are of knowing how to walk, how to pick up a glass, and how to speak English.3 When a person intends to perform an action of this kind, he aims at it directly, as it were. He intends to turn his skateboard to the left, say, not to flex this muscle here and so. He can intend to produce a certain action as output, but the intermediate steps and movements involved in this, to the extent that they are controlled in an irretrievable fashion, are not what he can intend. Similarly, where 'knowing how' is retrievable but automatic, the action is intended directly. The intermediary steps and movements are not what are intended so long as the action remains automatic.In what ways is practical knowledge acquired? In some cases it can be learned from verbal descriptions of the appropriate basic actions and their sequences-"put the left leg in and shake it all about"-or of the relevant rules or algorithms-"multiply by π r2." In others, learning is by example, copying, or experimenting. Some procedures work better for some skills than others. Generally speaking, when we encourage children and stroke victims to walk we do not provide them with examples. By contrast, language skills are often conveyed via paradigm instances. And while it is possible to learn to drive a plane from an instruction manual alone, one is more likely to be successful by following and being assisted by an instructor. Always conscious skills are often acquired by memorizing the procedure or rule that must be kept in mind, whereas automatic but retrievable skills, because their application is unconscious, are usually acquired through physical repetition until the routine becomes unthinking. Nevertheless, even cognitively impenetrable skills might be learned by first following written instructions. What makes the skill impenetrable is not the method by which it is acquired but the inability to recall or describe the relevant steps, rules, or procedures when the skill is entrenched.4A given skill might be cognitively impenetrable for... (shrink)

In the past twenty years, issues about the relationship between perception and thought have largely been framed in terms of the question of whether the contents of perception are nonconceptual. I argue that this debate has rested on an ambiguity in `nonconceptual content' and some false presuppositions about what is required for concept possession. Once these are cleared away, I argue that none of the arguments which have been advanced about nonconceptual content do much to threaten the natural view that (...) perception and thought are relations to the same kind of content. (shrink)

What is the Moral Problem? NORMATIVE ETHICS VS. META-ETHICS It is a common fact of everyday life that we appraise each others' behaviour and attitudes from ...

In this paper I argue that it's possible that the contents of some visual experiences are influenced by the subject's prior beliefs, hopes, suspicions, desires, fears or other mental states, and that this possibility places constraints on the theory of perceptual justification that 'dogmatism' or 'phenomenal conservativism' cannot respect.

Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...) recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention. (shrink)

Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

If it is true, as one of its founders, George Miller, tells us, that cognitive science was born in 1956, then by human aging standards it is coming upon a mid-life crisis. Crises, as Kuhn has taught us, often precipitate radical change, in science as well as in individuals. It should therefore not be surprising to find that cognitive scientists have begun to look to the future and predict, or hope, that it will include both the beautiful and the good. (...) Thus it is that the neuroscientist, Semir Zeki, has recently declared: “We are at the threshold of a great enterprise” which he calls neuroesthetics. His optimism about that enterprise has been echoed by a number of other researchers; and for the most part, their hopefulness is based on discoveries about how pictures are perceived. So, for example, V. S. Ramachandran and William Hirstein have said that by understanding the neuropsychological principles of picture perception, we may come to understand the very “essence of art”. Indeed, by identifying perceptual principles in the right way, according to David Gilden, we may discover common ground for normative disciplines of all stripes; a theory of “what is sexy, what is virtue, or what is a good buy”. (shrink)

If it is true, as one of its founders, George Miller, tells us, that cognitive science was born in 1956, then by human aging standards it is coming upon a mid-life crisis. Crises, as Kuhn has taught us, often precipitate radical change, in science as well as in individuals. It should therefore not be surprising to find that cognitive scientists have begun to look to the future and predict, or hope, that it will include both the beautiful and the good. (...) Thus it is that the neuroscientist, Semir Zeki, has recently declared: “We are at the threshold of a great enterprise” which he calls neuroesthetics. His optimism about that enterprise has been echoed by a number of other researchers; and for the most part, their hopefulness is based on discoveries about how pictures are perceived. So, for example, V. S. Ramachandran and William Hirstein have said that by understanding the neuropsychological principles of picture perception, we may come to understand the very “essence of art”. Indeed, by identifying perceptual principles in the right way, according to David Gilden, we may discover common ground for normative disciplines of all stripes; a theory of “what is sexy, what is virtue, or what is a good buy”. (shrink)

Pictorial representation is a subject of interest to both cognitive science and aesthetics. Standard theories of depiction often draw on vision science, and vision science must give an account of picture perception. I offer a critical overview of standard theories of depiction and argue that none of them is adequate. I then describe ways in which new theories of perception blend elements of representationalism with an emphasis on attention and motor control. Such theories, in effect, limit the reliance on mental (...) representation in perceptual tasks. This work provides the basis for a theory of depiction in which pictorial representation is explained in terms of both mental representations and perceptual strategies. I argue that, in the case, the mental representations are most plausibly individuated by the functional and conceptual roles, rather than by causal links to the external world. (shrink)

Jenefer Robinson takes the insights of modern scientific research on the emotions and uses them to illuminate questions about our emotional involvement with the arts. Laying out a theory of emotion supported by the best evidence from current empirical work, she examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone interested in the emotions and how they work, as well as anyone (...) engaged with the arts and aesthetics. (shrink)

We discuss at some length evidence from the cognitive science suggesting that the representations of objects based on spatiotemporal information and featural information retrieved bottomup from a visual scene precede representations of objects that include conceptual information. We argue that a distinction can be drawn between representations with conceptual and nonconceptual content. The distinction is based on perceptual mechanisms that retrieve information in conceptually unmediated ways. The representational contents of the states induced by these mechanisms that are available to a (...) type of awareness called phenomenal awareness constitute the phenomenal content of experience. The phenomenal content of perception contains the existence of objects as separate things that persist in time and time, spatiotemporal information, and information regarding relative spatial relations, motion, surface properties, shape, size, orientation, color, and their functional properties. (shrink)

We discuss in some length evidence from the cognitive science suggesting that the representations of objects based on spatiotemporal information and featural information retrieved bottom‐up from a visual scene precede representations of objects that include conceptual information. We argue that a distinction can be drawn between representations with conceptual and nonconceptual content. The distinction is based on perceptual mechanisms that retrieve information in conceptually unmediated ways. The representational contents of the states induced by these mechanisms that are available to a (...) type of awareness called phenomenal awareness constitute the phenomenal content of experience. The phenomenal content of perception contains the existence of objects as separate things that persist in time and time, spatiotemporal information, and information regarding relative spatial relations, motion, surface properties, shape, size, orientation, color, and their functional properties. (shrink)

In this paper I argue for the cognitive impenetrability of perception by undermining the argument from reentrant pathways. To do that I will adduce psychological and neuropsychological evidence showing that (a) early vision processing is not affected by our knowledge about specific objects and events, and (b) that the role of the descending pathways is to enable the early-vision processing modules to participate in higher-level visual or cognitive functions. My thesis is that a part of observation, which I will call (...) perception, is bottom-up and theory neutral. As such, perception could play the role of common ground on which a naturalized epistemology can be built and relativism avoided. (shrink)

Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - in other words it (...) is cognitively impenetrable. That part of vision is complex and articulated and provides a representation of the 3-D surfaces of objects sufficient to serve as an index into memory, with somewhat different outputs being made available to other systems such as those dealing with motor control. The paper also addresses certain conceptual and methodological issues, including the use of signal detection theory and event-related potentials to assess cognitive penetration of vision. A distinction is made among several stages in visual processing. These include, in addition to the inflexible early-vision stage, a pre-perceptual attention allocation stage and a post-perceptual evaluation, memory-accessing, and inference stage which provide several different highly constrained ways in which cognition can affect the outcome of visual perception. The paper discusses arguments that have been presented in both computer vision and psychology showing that vision is "intelligent" and involves elements of problem solving". It is suggested that these cases do not show cognitive penetration, but rather they show that certain natural constraints on interpretation, concerned primarily with optical and geometrical properties of the world, have been compiled into the visual system. The paper also examines a number of examples where instructions and "hints" are alleged to affect. (shrink)