Some recently popular accounts of perception account for the phenomenal character of perceptual experience in terms of the qualities of objects. My concern in this paper is with naturalistic versions of such a phenomenal externalist view. Focusing on visual spatial perception, I argue that naturalistic phenomenal externalism conflicts with a number of scientific facts about the geometrical characteristics of visual spatial experience.

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)

This paper argues that a common form of representationalism has trouble accommodating empirical findings about visual space perception. Vision science tells us that the visual system systematically gives rise to different experiences of the same spatial property. This, combined with a naturalistic account of content, suggests that the same spatial property can have different veridical looks. I use this to argue that a common form of representationalism about spatial experience must be rejected. I conclude by considering alternatives (...) to this view. (shrink)

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that (...) phenomenological argumentation can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible. (shrink)

Kant, Wittgenstein, and Husserl all held that visual awareness of objects requires visual awareness of the space in which the objects are located. There is a lively debate in the literature on spatial perception whether this view is undermined by the results of experiments on a Balint’s syndrome patient, known as RM. I argue that neither of two recent interpretations of these results is able to explain RM’s apparent ability to experience motion. I outline some ways in (...) which each interpretation may respond to this challenge, and suggest which way of meeting the challenge is preferable. I conclude that RM retains some awareness of the larger space surrounding the objects he sees. (shrink)

The human eyes and brain, which have finite boundaries, create a ‘‘virtual’’ space within our central nervous system that interprets and perceives a space that appears boundless and infinite. Using insights from studies on the visual system, we propose a novel fast processing mechanism involving the eyes, visual pathways, and cortex where external vision is imperceptibly processed in our brain in real time creating an internal representation of external space that appears as an external view. (...) We introduce the existence of a three-dimension default space consisting of intrapersonal body space that serves as the framework where visual and non-visual sensory information is sensed and experienced. We propose that the thalamus integrates processed information from corticothalamic feedback loops and fills-in the neural component of 3D default space with an internal visual representation of external space, leading to the experience of visual consciousness. This visual space inherently evades perception so we have introduced three easy clinical tests that can assist in experiencing this visual space. We also review visual neuroanatomical pathways, binocular vision, neurological disorders, and visual phenomenon to elucidate how the representation of external visible space is recreated within the mind. (shrink)

(Open Access article, freely available to download from publisher's site.) Our visual experiences of objects as located in external space, and as having definite three-dimensional shapes, are closely linked to our implicit expectations about what things will look like from alternative viewpoints. What sorts of contents do these expectations involve? One standard answer is that they relate to what things will look like to us upon changing our positions. And what sorts of mental representations do the expectations call (...) upon? A standard answer is that they involve our powers of visual imagery; this answer requires us to allow for the possibility of unconscious visual imagery, however. The current paper presents an alternative model of the contents of our implicit visual expectations, one that regards them as wholly nonreflexive. It also argues that, once we ascribe the relevant contents to the expectations, there is no longer any reason for holding that they involve our powers of visual imagery. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...) on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

I motivate and defend a previously underdeveloped functionalist account of the metaphysics of color, a view that I call ‘quality-space functionalism’ about color. Although other theorists have proposed varieties of color functionalism, this view differs from such accounts insofar as it identifies and individuates colors by their relative locations within a particular kind of so-called ‘quality space’ that reflects creatures’ capacities to discriminate visually among stimuli. My arguments for this view of color are abductive: I propose that quality- (...) class='Hi'>space functionalism best captures our commonsense conception of color, fits with many experimental findings, coheres with the phenomenology of color experience, and avoids many issues for standard theories of color such as color physicalism and color relationalism. (shrink)

Four experiments investigated the extent to which abstract quantitative information can be conveyed by basic visual features. This was done by asking observers to estimate and discriminate Pearson correlation in graphical representations where the first data dimension of each element was encoded by its horizontal position, and the second by the value of one of its visual features; perceiving correlation then requires combining the information in the two encodings via a common abstract representation. Four visual features were (...) examined: luminance, color, orientation, and size. All were able to support the perception of correlation. Indeed, despite the strikingly different appearances of the associated stimuli, all gave rise to performance that was much the same: just noticeable difference was a linear function of distance from complete correlation, and estimated correlation a logarithmic function of this distance. Performance differed only in regards to the level of noise in the feature, with these values compatible with estimates of channel capacity encountered in classic experiments on absolute perceptual magnitudes. These results suggest that quantitative information can be conveyed by visual features that are abstracted at relatively low levels of visual processing, with little representation of the original sensory property. It is proposed that this is achieved via an abstract parameter space in which the values in each perceptual dimension are normalized to have the same means and variances, with perceived correlation based on the shape of the joint probability density function of the resultant elements. (shrink)

Geometry defines entities that can be physically realized in space, and our knowledge of abstract geometry may therefore stem from our representations of the physical world. Here, we focus on Euclidean geometry, the geometry historically regarded as “natural”. We examine whether humans possess representations describing visual forms in the same way as Euclidean geometry – i.e., in terms of their shape and size. One hundred and twelve participants from the U.S. (age 3–34 years), and 25 participants from the (...) Amazon (age 5–67 years) were asked to locate geometric deviants in panels of 6 forms of variable orientation. Participants of all ages and from both cultures detected deviant forms defined in terms of shape or size, while only U.S. adults drew distinctions between mirror images (i.e. forms differing in “sense”). Moreover, irrelevant variations of sense did not disrupt the detection of a shape or size deviant, while irrelevant variations of shape or size did. At all ages and in both cultures, participants thus retained the same properties as Euclidean geometry in their analysis of visual forms, even in the absence of formal instruction in geometry. These findings show that representations of planar visual forms provide core intuitions on which humans’ knowledge in Euclidean geometry could possibly be grounded. (shrink)

How should we think about the role of visual spatial awareness in perception and perceptual knowledge? A common view, which finds a characteristic expression in Kant but has an intellectual heritage reaching back farther than that, is that an account of spatial awareness is fundamental to a theory of experience because spatiality is the defining characteristic of “outer sense”, of our perceptual awareness of how things are in the parts of the world that surround us. A natural counterpart to (...) this idea is to treat self-consciousness as residing in a kind of sense that is fundamentally “inner”, such as introspection or whatever else gives one privileged access to his own mental states as well as the proprioceptive and kinesthetic awareness of bodily position. This division is compatible, of course, with the idea that inner sense provides an awareness of a distinctive kind of “body space”, but it treats that as importantly different from the awareness of the worldly space around one. -/- In contrast to such a picture, this dissertation proposes an account of visual spatial awareness according to which it is no less a source of self-consciousness than of the awareness of the objects around us, and an account of self-awareness in which visual experience is essentially implicated. I begin by arguing that we should think of visual spatial awareness not as necessary for the individuation of visual sensations but rather as an essential element in the awareness of an experientially objective world. In the subsequent chapters, I argue that in being visually aware of the egocentric positions of the worldly objects around us we are often aware also of our own spatial locations with respect to them, and that the visual experience of the world around one and one’s own situation in it is often an essential component in the knowledge that a human agent will have of his own intentional actions. (shrink)

Ordinary human perceivers know that visual objects are perceivable from standpoints other than their own. The aim of this paper is to provide an explanation of how perceptual experience equips perceivers with this knowledge. I approach the task by discussing a variety of action-based theories of perception. Some of these theories maintain that standpoint transcendence is required for shape perception. I argue that this standpoint transcendence must take place in the phenomenal present and that it can be explained in (...) terms of the experience of perceivers who jointly attend to an object. Joint perceivers experience objects as being perceived from standpoints other than their own. They operate in what I call “social space”, in which they single out objects by triangulating targets’ locations relative to their co-perceivers’ standpoints on these targets. It is then possible to explain the public character of the objects of individual experience by appeal to what I call “public space”. This is a spatial framework whose locations are presented as standpoints whence joint attention to the target would ensue, were they occupied by co-perceivers. If shape perception requires standpoint transcendence, then shape perceivers operate in public space and are thus capable of singling out targets by triangulating their locations from standpoints other than their own. If it doesn’t, then the introduction of a public spatial framework is an additional step whose introduction explains how perceivers come to experience objects as perceivable from standpoints other than their own. (shrink)

Citizens can be meaningfully involved in multiple phases of the urban planning process from decision-making to implementation via a dedicated online platform through which they can interact with planners and decision-makers. In historical contexts, local people are essential resources for decision-makers seeking critical local information needed for effective planning and intervention—including what those citizens recall from the past about the area’s social values and the built environment and what they imagine and hope for their neighborhood’s future. This public knowledge, collected (...) through storytelling and mapping, can play a fundamental role in shaping the framework for neighborhood rehabilitation plans. As a foundation for designing an online visual questionnaire to collect local knowledge and understand the views and expectations of local people, this study focuses on theoretical ideas to define a framework for an online visual questionnaire tool. The tool presented provides a common visual language that people can easily understand and use whatever their social class, education, or background. It also has the benefit of enabling citizens and planners to interact directly regardless of their geographical location. To proposing a framework for the online visual questionnaire, the first step was to review some existing visual tools and methods, including analog used for community engagement and digital used in urban planning to encourage and support public participation. Through an analysis of these methods, some important variables and criteria were identified that further our understanding of citizens’ perceptions of their neighborhoods. The next step, as part of a larger study, will be examining a historical public space, including a bazaar, hammam, and cistern—located in the historical context of Yazd— a central city in Iran registered as a cultural heritage site by UNESCO— as a case study with the larger goal of identifying some specific. (shrink)

Metacognition is associated with planning, monitoring, evaluating and repairing performance Designers of elearning systems can improve the quality of their environments by explicitly structuring the visual and interactive display of learning contexts to facilitate metacognition. Typically page layout, navigational appearance, visual and interactivity design are not viewed as major factors in metacognition. This is because metacognition tends to be interpreted as a process in the head, rather than an interactive one. It is argued here, that cognition and metacognition (...) are part of a continuum and that both are highly interactive. The tenets of this view are explained by reviewing some of the core assumptions of the situated and distribute approach to cognition and then further elaborated by exploring the notions of active vision, visual complexity, affordance landscape and cue structure. The way visual cues are structured and the way interaction is designed can make an important difference in the ease and effectiveness of cognition and metacognition. Documents that make effective use of markers such as headings, callouts, italics can improve students’ ability to comprehend documents and ‘plan’ the way they review and process content. Interaction can be designed to improve ‘the proximal zone of planning’ – the look ahead and apprehension of what is nearby in activity space that facilitates decisions. This final concept is elaborated in a discussion of how e-newspapers combine effective visual and interactive design to enhance user control over their reading experience. (shrink)

Radical cities have historically been hotbeds of transformative paradigms, political changes, activism, and social movements, and have given rise to visionary ideas, utopian projects, revolutionary ideologies, and debates. These cities have served as incubators for innovative ideas, idealistic projects, revolutionary philosophies, and lively debates. The streets, squares, and public spaces of radical cities have been the backdrop for protests, uprisings, and social movements that have had both local and global significance. This research project aims to explore and reimagine radical cities (...) and urban activism using a variety of visual and collaborative pedagogical approaches. This project will study and categorize these cities through comparative case studies from different regions, including North America, and Latin America, and beyond, in order to better understand and interpret pivotal societal transitions. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account of sexuality (...) is built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)

When people make sense of situations, illustrations, instructions and problems they do more than just think with their heads. They gesture, talk, point, annotate, make notes and so on. What extra do they get from interacting with their environment in this way? To study this fundamental problem, I looked at how people project structure onto geometric drawings, visual proofs, and games like tic tac toe. Two experiments were run to learn more about projection. Projection is a special capacity, similar (...) to perception, but less tied to what is in the environment. Projection, unlike pure imagery, requires external structure to anchor it, but it adds ‘mental’ structure to the external scene much like an augmented reality system adds structure to an outside scene. A person projects when they look at a chessboard and can see where a knight may be moved. Because of the cognitive costs of sustaining and extending projection, humans make some of their projections real. They create structure externally. They move the piece, they talk, point, notate, represent. Much of our interactivity during sense making and problem solving involves a cycle of projecting then creating structure. (shrink)

One of the most compelling questions still unanswered in neuroscience is how consciousness arises. In this article, we examine visual processing, the parietal lobe, and contralateral neglect syndrome as a window into consciousness and how the brain functions as the mind and we introduce a mechanism for the processing of visual information and its role in consciousness. We propose that consciousness arises from integration of information from throughout the body and brain by the thalamus and that the thalamus (...) reimages visual and other sensory information from throughout the cortex in a default three-dimensional space in the mind. We further suggest that the thalamus generates a dynamic default three-dimensional space by integrating processed information from corticothalamic feedback loops, creating an infrastructure that may form the basis of our consciousness. Further experimental evidence is needed to examine and support this hypothesis, the role of the thalamus, and to further elucidate the mechanism of consciousness. (shrink)

The Emergic Cognitive Model (ECM) is a unified computational model of visual filling-in based on the Emergic Network architecture. The Emergic Network was designed to help realize systems undergoing continuous change. In this thesis, eight different filling-in phenomena are demonstrated under a regime of continuous eye movement (and under static eye conditions as well). -/- ECM indirectly demonstrates the power of unification inherent with Emergic Networks when cognition is decomposed according to finer-grained functions supporting change. These can interact to (...) raise additional emergent behaviours via cognitive re-use, hence the Emergic prefix throughout. Nevertheless, the model is robust and parameter free. Differential re-use occurs in the nature of model interaction with a particular testing paradigm. -/- ECM has a novel decomposition due to the requirements of handling motion and of supporting unified modelling via finer functional grains. The breadth of phenomenal behaviour covered is largely to lend credence to our novel decomposition. -/- The Emergic Network architecture is a hybrid between classical connectionism and classical computationalism that facilitates the construction of unified cognitive models. It helps cutting up of functionalism into finer-grains distributed over space (by harnessing massive recurrence) and over time (by harnessing continuous change), yet simplifies by using standard computer code to focus on the interaction of information flows. Thus while the structure of the network looks neurocentric, the dynamics are best understood in flowcentric terms. Surprisingly, dynamic system analysis (as usually understood) is not involved. An Emergic Network is engineered much like straightforward software or hardware systems that deal with continuously varying inputs. Ultimately, this thesis addresses the problem of reduction and induction over complex systems, and the Emergic Network architecture is merely a tool to assist in this epistemic endeavour. -/- ECM is strictly a sensory model and apart from perception, yet it is informed by phenomenology. It addresses the attribution problem of how much of a phenomenon is best explained at a sensory level of analysis, rather than at a perceptual one. As the causal information flows are stable under eye movement, we hypothesize that they are the locus of consciousness, howsoever it is ultimately realized. (shrink)

Embodied cognitive theories predict that linguistic conceptual representations are grounded and continually represented in real world, sensorimotor experiences. However, there is an on-going debate on whether this also holds for abstract concepts. Grammar is the archetype of abstract knowledge, and therefore constitutes a test case against embodied theories of language representation. Former studies have largely focussed on lexical-level embodied representations. In the present study we take the grounding-by-modality idea a step further by using reaction time (RT) data from the linguistic (...) processing of nominal classifiers in Chinese. We take advantage of an independent body of research, which shows that attention in hand space is biased. Specifically, objects near the hand consistently yield shorter RTs as a function of readiness for action on graspable objects within reaching space, and the same biased attention inhibits attentional disengagement. We predicted that this attention bias would equally apply to the graspable object classifier but not to the big object classifier. Chinese speakers (N = 22) judged grammatical congruency of classifier-noun combinations in two conditions: graspable object classifier and big object classifier. We found that RTs for the graspable object classifier were significantly faster in congruent combinations, and significantly slower in incongruent combinations, than the big object classifier. There was no main effect on grammatical violations, but rather an interaction effect of classifier type. Thus, we demonstrate here grammatical category- specific effects pertaining to the semantic content and by extension the visual and tactile modality of acquisition underlying the acquisition of these categories. We conclude that abstract grammatical categories are subjected to the same mechanisms as general cognitive and neurophysiological processes and may therefore be grounded. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by (...) Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace (...) on the object; instead the interference is more subtle — it influences the way in which we perceive space. Following in the footsteps of Sarah Pink, Michael Taussig and William J. T. Mitchell, I show that seeing (to paraphrase the title of an article by the last of the above mentioned scholars) is a cultural practice. The last part of the article presents a visual essay as a method that can contribute to cultural urban studies. I give as an example of such a method a photo‑essay about chosen construction sites in Poznań, which I photographed between December 2014 and June 2015. (shrink)

The use of participant-led visual data production is often seen as advantageous because data can be directed, constructed and created away from the influence of the researcher. The case for employing the visual to engender participatory research, and specifically to limit the intrusive presence of the researcher, is well versed and in vogue within the field of social science; however, although participatory techniques offer an opportunity to disrupt power relations, they are unable to transcend familial practices. Drawing from (...) a study in which mother/daughter dyads produced photographs, collages, maps and stories to communicate their everyday lives and ideas of the future, this paper examines the wider role of ‘intrusive presence’. The paper documents incidents of external physical interference where visual data was amended, the influence of outside suggestion in the creative process, and the restrictions placed by the imagined reactions of the viewer. The paper argues that when the ‘intrusive presence’ of the researcher steps out of the site of visual data production this leaves a space that is often filled by the ‘intrusive presence’ of significant others. (shrink)

In the last decade there has been a movement towards facilitating Open Access to academic outputs via the World Wide Web. This movement has been characterised as one that embodies corporate citizenship because such sharing has the potential to benefit all stakeholders: academics, policy makers, charitable sectors and the wider public. In the UK, the Economic and Social Research Council are implementing Open Access compliance guidelines for research that they fund, which is interpreted by individual institutions in their school regulations. (...) In the case of doctoral theses, there is now a requirement for students to provide an electronic format of their final work to be included in their school's online digital repository. In a number of UK institutions, University Awards and Progress Committees will only consider awarding the doctoral degree once these requirements have been satisfied. Although this move to Open Access can be considered as an egalitarian endeavour, this paper argues that an important stakeholder may have been overlooked in the march towards progressive dissemination. The temporal space between gaining informed consent from research participants and the changing nature of the accessibility of outputs can both engender a breach of ethics in terms of the initial agreements negotiated with participants and raise issues around representation in the ongoing dissemination and reformulation of the original work, particularly where visual images are central to research outputs. The paper utilises autoethnography and poetry to reflect on my own encounter with the requirement for Open Access and the ways in which this brings up concerns around ethics, obligations and integrity. (shrink)

Resumo: Esse estudo exploratório do Dicionário Priberam de Língua Portuguesa (DPLP), na sua formulação digital, parte da questão: como tal dicionário afeta a divisão política da língua a partir de sua digitalização e circulação na Internet? Trata-se de um material propício para mostrar a atualização do processo de gramatização do português no início do século XXI e para observar as singularidades do trabalho lexicográfico no espaço digital e a produção de saberes sobre a língua nesse momento histórico. O corpus é (...) composto por recortes de formulações dos anos de 2012, 2013 e 2014, período de exploração do material de análise. Os procedimentos de descrição levaram ao trabalho intradiscursivo com os efeitos do visual, ou seja, a própria formulação visual como elemento importante para a compreensão do funcionamento da discursividade lexicográfica em Priberam. Abstract: This exploratory study of the Dicionário Priberam de Língua Portuguesa (DPLP), in its digital formulation, parts from the question: how does this dictionary affect the political division of the language considering its digitization and circulation on the Internet? It is an auspicious material to demonstrate the updating of the Portuguese grammatization process at the beginning of the 21st century and to observe the singularities of the lexicographic work over digital space and the production of knowledge about the language at this historical moment. The corpus consists of formulations cutouts from the years of 2012, 2013 and 2014, period over which the material of analysis was investigated. The description procedures led to the intradiscursive work with the effects of the visual, that is, the visual formulation itself as an important element for the understanding of the functioning of the lexicographic discursiveness in Priberam. (shrink)

In this article, we examine phantom limb syndrome to gain insights into how the brain functions as the mind and how consciousness arises. We further explore our previously proposed consciousness model in which consciousness and body schema arise when information from throughout the body is processed by corticothalamic feedback loops and integrated by the thalamus. The parietal lobe spatially maps visual and non-visual information and the thalamus integrates and recreates this processed sensory information within a three-dimensional space (...) termed the ‘‘3D default space.’’ We propose that phantom limb syndrome and phantom limb pain arise when the afferent signaling from the amputated limb is lost but the neural circuits remain intact. In addition, integration of conflicting sensory information within the default 3D space and the loss of inhibitory afferent feedback to efferent motor activity from the amputated limb may underlie phantom limb pain. (shrink)

It is modernly debated whether application of the free will has potential to cause harm to nature. Power possessed to the discourse, sensory/perceptual, physical influences on life experience by the slow moving machinery of change is a viral element in the problems of civilization; failed resolution of historical paradox involving mind and matter is a recurring source of problems. Reference is taken from the writing of Euclid in which a oneness of nature as an indivisible point of thought is made (...) prerequisite in criteria of interpretation to demonstrate that contemporary scientific methodologies alternately ensue from the point of empirically centered induction. A qualification for conceptualizations is proposed that involves a physically describable form bound to energy in addition to contemporary notions of energy bound to form and a visually based mathematical-physical form is elaborated and discussed with respect to biological and natural processes. (shrink)

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects (...) in Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)

The role of the cultural assets as one of the pillars of sustainable development is undeniably of great significance in the cultural sustainability of cities. Indeed, the way users understand and interpret cultural heritage sites would be highly critical to managing cultural organizations properly. It means by improving users’ perception of these sites, it can expect a fair distribution of comprehensive awareness among generations about the values of cultural assets. Past studies in spatial psychology have demonstrated that environmental properties can (...) positively Influence human emotions. On the other hand, using computational–mathematical methods used to examine spatio-visual properties have rarely been compared to human perceptions. This paper examines the impact of spatio-visual properties on human perception as a clever cultural management strategy to promote cultural sustainability. It is discussed how environmental features in general, and visibility in particular, can shape the way users interpret cultural heritage. Results indicate that not only visibility of users’ paths within cultural heritage sites can be an influential factor for the development of users’ perception, but also the visibility of the entrance of these complexes can change their understanding. This means that decision-makers, architects, and managers of the cultural organizations can apply these findings as cultural management framework by defining predefined paths in these sites in the way that they possess high visibility and visible entrance. Consequently, the distribution of public awareness among generations can be improved to strengthen the role of cultural aspects in sustainable development. (shrink)

The book explores the impact of manuscript remarks during the year 1929 on the development of Wittgenstein’s thought. Although its intention is to put the focus specifically on the manuscripts, the book is not purely exegetical. The contributors generate important new insights for understanding Wittgenstein’s philosophy and his place in the history of analytic philosophy. -/- Wittgenstein’s writings from the years 1929-1930 are valuable, not simply because they marked Wittgenstein’s return to academic philosophy after a seven-year absence, but because these (...) works indicate several changes in his philosophical thinking. The chapters in this volume clarify the significance of Wittgenstein’s return to philosophy in 1929. In Part 1, the contributors address different issues in the philosophy of mathematics, e.g. Wittgenstein's understanding of certain aspects of intuitionism and his commitment to verificationism, as well as his idea of "a new system". Part 2 examines Wittgenstein's philosophical development and his understanding of philosophical method. Here the contributors examine particular problems Wittgenstein dealt with in 1929, e.g. the colour-exclusion problem, and the use of thought experiments as well as his relationship to Frank Ramsey and philosophical pragmatism. Part 3 features essays on phenomenological language. These chapters address the role of spatial analogies and the structure of visual space. Finally, Part 4 includes one chapter on Wittgenstein’s few manuscript remarks about ethics and religion and relates it to his Lecture on Ethics. -/- Wittgenstein’s Philosophy in 1929 will be of great interest to scholars and advanced students working on Wittgenstein and the history of analytic philosophy. (shrink)

An early, very preliminary edition of this book was circulated in 1962 under the title Set-theoretical Structures in Science. There are many reasons for maintaining that such structures play a role in the philosophy of science. Perhaps the best is that they provide the right setting for investigating problems of representation and invariance in any systematic part of science, past or present. Examples are easy to cite. Sophisticated analysis of the nature of representation in perception is to be found already (...) in Plato and Aristotle. One of the great intellectual triumphs of the nineteenth century was the mechanical explanation of such familiar concepts as temperature and pressure by their representation in terms of the motion of particles. A more disturbing change of viewpoint was the realization at the beginning of the twentieth century that the separate invariant properties of space and time must be replaced by the space-time invariants of Einstein's special relativity. Another example, the focus of the longest chapter in this book, is controversy extending over several centuries on the proper representation of probability. The six major positions on this question are critically examined. Topics covered in other chapters include an unusually detailed treatment of theoretical and experimental work on visual space, the two senses of invariance represented by weak and strong reversibility of causal processes, and the representation of hidden variables in quantum mechanics. The final chapter concentrates on different kinds of representations of language, concluding with some empirical results on brain-wave representations of words and sentences. (shrink)

The chapter concerns some aspects of Russell’s epistemological turn in the period after 1911. In particular, it focuses on two aspects of his philosophy in this period: his attempt to render material objects as constructions out of sense data, and his attitude toward sense data as “hard data.” It examines closely Russell’s “breakthrough” of early 1914, in which he concluded that, viewed from the standpoint of epistemology and analytic construction, space has six dimensions, not merely three. Russell posits a (...) three-dimensional personal or “perspective” space that is inhabited by sense data. This space then forms the basis for constructing the three dimensional space of physics (and of public things). I am concerned with the specifics of this construction: with the properties of the private spaces, the relations among those spaces, and their relation to physical space and to constructed “things,” such as pennies or tables. There are difficulties of interpretation with respect to these relations, which stem from the difficulty of finding a coherent interpretation of Russell’s claim that objects such as tables and pennies look smaller at a greater distance (or look trapezoidal or elliptical from some points of view). I don’t mean to challenge the phenomenal claim that objects do, in some sense, look small in the distance. Rather, I raise difficulties with Russell’s analysis of this fact, in which he appeals to both phenomenal experience and the findings of sensory psychology. I hold that if he wishes to maintain his phenomenal claim about objects appearing smaller with greater distance, he must alter or redescribe aspects of his construction of ordinary things. However, if his construction of things and physical space is based on a problematic description of the private spaces, then his claim that private or perspective spaces are very well known and provide the hard data for knowledge of the physical world faces a challenge. (shrink)

The standard, foundationalist reading of Our Knowledge of the External World requires Russell to have a view of perceptual acquaintance that he demonstrably does not have. Russell’s actual purpose in “constructing” physical bodies out of sense-data is instead to show that psychology and physics are consistent. But how seriously engaged was Russell with actual psychology? I show that OKEW makes some non-trivial assumptions about the character of visual space, and I argue that he drew those assumptions from William (...) James’s Principles. This point helps us take a fresh look at the complex relationship between the two men. In light of this surprising background of agreement, I highlight ways their more general approaches to perception finally diverged in ways that put the two at epistemological odds. (shrink)

This paper examines Helmholtz's attempt to use empirical psychology to refute certain of Kant's epistemological positions. Particularly, Helmholtz believed that his work in the psychology of visual perception showed Kant's doctrine of the a priori character of spatial intuition to be in error. Some of Helmholtz's arguments are effective, but this effectiveness derives from his arguments to show the possibility of obtaining evidence that the structure of physical space is non-Euclidean, and these arguments do not depend on his (...) theory of vision. Helmholtz's general attempt to provide an empirical account of the "inferences" of perception is regarded as a failure. (shrink)

I argue that Husserl’s account of passive synthesis can be developed into a phenomenology of peripheral experience. Peripheral experiences are not defined by their location in visual space but by their phenomenal and intentional character, by what these experiences are like and how they present things in the world. Further, I argue that peripheral experience is of a piece with our most basic background convictions about the world. As such, the periphery is epistemically neutral, but not therefore empty (...) of meaning. It is meaningful as holding open the possibility of further activity, both practical and intellectual. I explore these ideas by focusing on peripheral color experience. Husserl’s discussions of associative synthesis, affection, and doxic and nondoxic forms of attention prove key to detailing peripheral color experience. I end by arguing that at the periphery, intentional content and phenomenal content come apart. (shrink)

The role of the physiological processes involved in human vision escapes clarification in current literature. Many unanswered questions about vision include: 1) whether there is more to lateral inhibition than previously proposed, 2) the role of the discs in rods and cones, 3) how inverted images on the retina are converted to erect images for visual perception, 4) what portion of the image formed on the retina is actually processed in the brain, 5) the reason we have an after-image (...) with antagonistic colors, and 6) how we remember space. This theoretical article attempts to clarify some of the physiological processes involved with human vision. The global integration of visual information is conceptual; therefore, we include illustrations to present our theory. Universally, the eyeball is 2.4 cm and works together with membrane potential, correspondingly representing the retinal layers,photoreceptors, and cortex. Images formed within the photoreceptors must first be converted into chemical signals on the photoreceptors’ individual discs and the signals at each disc are transduced from light photons into electrical signals. We contend that the discs code the electrical signals into accurate distances and are shown in our figures. The pre-existing oscillations among the various cortices including the striate and parietal cortex,and the retina work in unison to create an infrastructure of visual space that functionally ‘‘places” the objects within this ‘‘neural” space. The horizontal layers integrate all discs accurately to create a retina that is pre-coded for distance. Our theory suggests image inversion never takes place on the retina,but rather images fall onto the retina as compressed and coiled, then amplified through lateral inhibition through intensification and amplification on the OFF-center cones. The intensified and amplified images are decompressed and expanded in the brain, which become the images we perceive as external vision. (shrink)

Neuropsychological findings used to motivate the "two visual systems" hypothesis have been taken to endanger a pair of widely accepted claims about spatial representation in conscious visual experience. The first is the claim that visual experience represents 3-D space around the perceiver using an egocentric frame of reference. The second is the claim that there is a constitutive link between the spatial contents of visual experience and the perceiver's bodily actions. In this paper, I review (...) and assess three main sources of evidence for the two visual systems hypothesis. I argue that the best interpretation of the evidence is in fact consistent with both claims. I conclude with some brief remarks on the relation between visual consciousness and rational agency. (shrink)

As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the form (...) of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails. (shrink)

Ordinary cases of object seeing involve the visual perception of space and spatial location. But does seeing an object require such spatial perception? An empirical challenge to the idea that it does comes from reflection upon Bálint's syndrome, for some suppose that in Bálint's syndrome subjects can see objects without seeing space or spatial location. In this article, I question whether the empirical evidence available to us adequately supports this understanding of Bálint's syndrome, and explain how the (...) aforementioned empirical challenge can be resisted. (shrink)

This paper examines Milner and Goodale’s hypothesis about the two visual streams and raises the questions of whether properties in egocentric space (commonly associated with the vision-for-action, or "dorsal," stream) can be part of the phenomenal content of perceptual experience, or only properties in allocentric space (commonly associated with the vision-for-perception, or "ventral," stream) can play this role, and how (if at all) properties in egocentric space differ from properties in allocentric space. These questions are (...) reminiscent of issues raised by Christopher Peacocke's "equal-sized trees" case: if you are looking at equal-sized trees on the side of a road, the trees will phenomenally look to you to be equally tall. But it is also true that a tree will take up more of the space in your visual field the closer it is to you. So, the equal-sized trees will also phenomenally look to you to have different heights. Your (visual) perceptual experience is not illusory. That is, the trees veridically look to you to have the same height, and they also veridically look to you to have different heights. Call the sort of issue raised here the "problem of dual looks." I provide a solution to the problem of dual looks that helps shed light on whether properties in egocentric space can be part of the phenomenal content of perceptual experience, and how (if at all) properties in egocentric space differ from properties in allocentric space. (shrink)

It is widely accepted that there is a visual field, but the analogous notion of an auditory field is rejected by many philosophers on the grounds that the metaphysics or phenomenology of audition lack the necessary spatial or phenomenological structure. In this paper, I argue that many of the common objections to the existence of an auditory field are misguided and that, contrary to a tradition of philosophical scepticism about the spatiality of auditory experience, it is as richly spatial (...) as visual experience—and in some ways even more so. By carefully considering the spatiality and boundedness of audition, along with how sounds or their sources are experienced as occurring within the surrounding acoustic environment, we can gain a better understanding of (i) our auditory experience of space and (ii) the conditions for the existence of spatial sensory fields in general in a way that does not privilege vision over the other senses. (shrink)

What representational state mediates between perception and action? Bence Nanay says pragmatic representations, which are outputs of perceptual systems. This commits him to the view that optic ataxics face difficulty in performing visually guided arm movements because the relevant perceptual systems output their pragmatic representations incorrectly. Here, I argue that it is not enough to say that pragmatic representations are output incorrectly; we also need to know why they are output that way. Given recent evidence that optic ataxia impairs peripersonal (...) space representation, I argue that pragmatic representations are output incorrectly because the organizing principle of the vision-for-action system is blocked by optic ataxia. I then show how this means that this principle, not pragmatic representations, is the representational state that mediates between perception and action, i.e. the principle, not pragmatic representations, is the immediate mental antecedent of action. (shrink)

Shadow pictures radically changed the modern understanding of pictorial concepts. Tim Otto Roth’s broadly based cultural history traces the consequences of this revolution of methods of vision and image production in the sciences and the arts. By means of abundant image and text sources he develops a picture theory based on physics and projective geometry. This definitive book comprising 500 pages provides a generally understandable and vivid insight in the history of shadowgraphs from the 19th century until the present age. (...) A crucial role play scientific processes as the X-ray technique, but also the artistic examination of space and body. (shrink)

The author proposes a neophenomenological interpretation of the late Jacques Derrida’s deconstruction, by bringing it into the light of (post)secular negative philosophy and indicating the application of its mystic/ecstatic implications on a media techno-vision basis. In this conceptualization, deconstruction/negation, as an ,epoche strategy, not only denudes (kenosis) cognition of the idolatry, characteristic of the traditional methaphysics of presence and the dogmatic religion, but also suspends “the source” itself (the Offenberkeit register), and thus, causes the experience of radical emptiness (chora) as (...) a condition of an opening to the Impossible. The author, by presenting the concept of negative image, demonstrates that technology visual media provide a suitable space (groundlessness) for Impossible to manifest itself in post-industrial culture. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

Science fiction and futuristic reality beyond the Self.

Methodology and theory in science are related to a philosophy in which the centric position of the first person, perception and cognition are made the exclusive focus for interpretation involving mirroring, symbolism, and need, criteria from which major first scientific works in Anthropology originated. A new orientation is found for some notions in physics and cosmology, especially those revolved around an ether as a substrate for the transmission of light that are used in explanation in Theory of Relativity, interpretation of (...) experiment. The interferometer and red shift, theory and experiment in biology, as well as aspects of Ancient Philosophies, and a modern age of extended means of communication are discussed and compared in critique with respect to a visual model, created mathematically, of an egg, that is used to demonstrate proposed physical and conceptual form. The Earth, civilization is argued to have a unaware two-timing complex in thinking social and behavioral aspects caused by the external invasion of spaces by unknown phenomenon dating back to the time of Eve and reflected from a philosophical incompleteness to a space structured with a like two-timed weave of conceptual and material form. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

As with so many mystics, Alexis karpouzos intuitively know the oneness of cosmic creation and historic humanity as part of all that is and all there isn't. So, the originality of Alexis Karpouzos thought is that it crosses the most diverse fields, the most opposing philosophies, to unite them into an often contradictory and broken whole. Marx and Heidegger, Nietzsche, Freud and Heraclitus, poets and political theorists all come together in the same distance and the same unusual proximity. Alexis karpouzos (...) use Pre-Socratics philosophy and generally the ancient Greek philosophy, as well as the pre-philosophical thinking of The Upanishads, the Vedas and Buddhism in India, of Lao Tzu, of Zen Buddhism and the Taoist tradition in China, of the Arab mystics and poets, with their metaphysical religiosity as the metaphysical basis for the interpretation and understanding of the world and existence. At the same time the ancient metaphysics is connect with Hegel’s dialectical ontology and with the modern thinking of Marx, Nietzsche, Freud, Heidegger, and others as the interpretive context for understanding the central problems of the technical and scientific world during his time. Novalis, Hölderlin, Rimbaud, Whitman, Eliot and others show the dreamy nature of existence, the transcendence of the Cosmos, welcome the infinity. For Alexis karpouzos the combination of ancient and modern thought creates the holistic experience of universal space-time and the consciousness of the unity. The poetic thought of Alexis karpouzos is a expressions of soul's inner experiences, expression of universality. The inspiring visual images and the symbolic use of language offer a description of elevating experiences of consciousness, a glimpse of higher worlds. The philosophy of Alexis karpouzos speak to the human experience from a universal perspective, transcending all religions, cultural and national boundaries. Using vivid images and a direct language that speaks to the heart, his philosophy evokes a sense of deep communication with the collective unconscious, a sense of connection to all the creatures of the world, compassion for others, admiration for the beauty of nature, reverence for all life, and an abiding faith in the invisible touch of world. Alexis karpouzos thoughts are often terse and paradoxical, challenging us to to break out of the box of limiting beliefs and see things from a new perspective. Above all, Alexis karpouzos continually calls to us to wake up and explore the mysteries within our own selves, i.e the mysteries of universe. (shrink)