电影感知研究，是欧美近20年来兴起的跨学科实证研究。电影感知研究主要以心 理学的感知科学为基础，并且结合电影学、传播学、计算机科学、统计学等学科， 以实证的方法探讨电影的构建与观众解读机制之间的联系。文章通过对电影感知研 究历史的梳理和总结，探讨了传统电影研究中忽略的问题，讨论了电影感知研究的 学科性质和应用前景。 .

Both perception and imagination seem to play a crucial role in our engagement with fiction films but whether they really do so, and which role they possibly play, is controversial. On the one hand, a fiction film, as film, is a depiction that invites us to perceive the events portrayed. On the other hand, as fiction, it invites us to imagine the story told. Thus, after watching the film Alien, one might say that one saw Ripley (...) fighting the monster but one might also say that one imagined Ripley fighting the monster. Are these two reports compatible? If they are, how can we combine them so to make sense of them? If, instead, they are not, which of them should we give up? (shrink)

Against the backdrop of these works (Mitchell/Snyder and others), we propose an analysis of films with and about blind or visually disabled individuals that aims at exploring different modes of world perception. In our view, such an examination should not only discuss the question of “giving voice” and visibility to those who were formerly only represented in or by the media, or the fact that films belonging to what might be considered a “new disability documentary cinema” are dedicated to (...) the experience of disability from the point of view of those who deal with it. Rather, we examine films that do not restrict their field of vision to institutional context as cultural productions. These films allow the viewer to get to know different practices of seeing in the daily life of both blind or visually disabled and sighted people. In approaching these productions, we are interested in focusing on how the audio-visual regimes produce and structure our visual experience, translate it into a filmic grammar and thus not only create filmic patterns of blind perception but, at the same time, the cinematographic aesthetic of a so-called normal sightedness. (shrink)

The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature (...) and essence of film and proposes an alternative term - narrative denoter - which can be used as the indication of message exchanging between filmmakers and audiences. Using a released film that has a complete story to do the experiment, this study investigates the relationship between major, film interpretations, event segmentation, and audience’s preference. The result showed that filmmaking experience does not impact the interpretation of film; however the identification of the narrative denoter played an important role in film perception and cognition; apart from these, the audience’s preference did not correlate with film interpretation. With respect to this result, the narrative denoter can be indicator to demonstrate the message transitions from filmmaker to audience. Suggestions were made for future cognitive film studies on using the narrative denoters as a new analysis unit. (shrink)

The objective of this paper is to authenticate the perception of distortions in the communication of Tiv folklores in movies produced in Benue State. The paper assumes that film has the capacity to communicate societal beliefs but certain distortions can challenge the effective communication of such cultural values. The paper adopts a qualitative method using oral interviews to elicit information from ten participants including five (5) movie producers in the Benue movie industry. Folklore and mythically based movies produced (...) in Tiv are also identified and analyzed based on the opinions of various. This paper concludes that a significant number of folklore-based movies produced in the Benue movie industry are distorted versions of Tiv folklores by most movie producers who do not undertake adequate research from reliable sources and who garnish the folklore stories to make the movies more entertaining and attractive. As tools of cultural preservation and communication in the society, this paper recommends that indigenous film producers should undertake adequate research from reliable primary and secondary sources before scripting and production and should communicate folklores for the purpose of information and education of the young Tiv generation instead of the purpose of entertainment. (shrink)

I consider what draws us to perceiving beautiful bodies in art and athletics--repeatedly and over time--that is informed by viewers' changing perceptions derived from recent publications in fashion and sport, the philosophy of sport, feminist film theory and aesthetics under the ever-expanding umbrella of somaesthetics. This paper won the American Society for Aesthetics 2023 Somaesthetics Prize.

Tarkovski’s film is a drama of pain and partial recovery centered on the psychology of the Solaris station crew. Tarkovski wanted to address this way the deeply emotional and intellectual science-fantastic genre, considered by him to be superficial. The film approaches a central phenomenon of Klaus Holzkamp’s critical-psychological analysis of human perception: the perceptions of the human world are significant to human beings. In perception, human beings are oriented towards an objective sense, which objects possess it (...) in connection with the vital activity of the people. By virtue of this quality, the localization of meanings in objects is exclusively a characteristic of the human world. DOI: 10.13140/RG.2.2.13456.05129. (shrink)

Le film de Tarkovsky est un « drame de douleur et de récupération partielle » axé sur la psychologie de l'équipe de la station Solaris. Tarkovsky voulait aborder plus profond émotionnellement et intellectuellement le genre scientifique-fantastique, considéré par lui comme superficiel. Il traite un phénomène central de l'analyse psycho-critique de la perception humaine de Klaus Holzkamp : les conditions de la perception du monde humain sont significatives pour l'homme. Dans la perception, les êtres humains sont orientés (...) vers un sens objectif que possèdent les objets par rapport à l'activité vitale de l'homme. En vertu de cette qualité, la localisation des sens dans les objets est exclusivement une caractéristique du monde humain. DOI: 10.13140/RG.2.2.10967.42403. (shrink)

This is the first book to explore and address the philosophical aspects of Eternal Sunshine of the Spotless Mind. Beginning with a helpful introduction that places each essay in context, specially commissioned chapters examine the following topics: -/- * Philosophical issues surrounding love, friendship, affirmation and repetition * The role of memory (and the emotions) in personal identity and decision-making * The morality of imagination and ethical importance of memory * Philosophical questions about self-knowledge and knowing the minds of others (...) * The aesthetics of the film considered in relation to Gondry’s other works and issues in the philosophy of perception. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation (...) the common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

This essay is on Man's limitations as per his perceptions of his reality, given his physiology and given his mind's attributes. Of course, not many people think or care much about this matter, moving on through their daily chores, doing, serving, and buying their specific necessities for life. That fact does not change the truth that what all human beings experience, feel, endure and remember as their reality is a vastly complex fabrication woven by our minds, ultimately creating, designing a (...) cohering ‘reality’ that makes our ‘reality’ recognizable enough such that, as stated, we can go on ignoring the unreality of our reality and get on with the necessities for our daily sustenance. -/- Thus, each day, we believe in all that we did, spoke, and in the ways, we acted and interacted with whomsoever we performed and interacted with. We live each day believing, feeling, experiencing ‘our consciousness’ as being real; believing our memories are real; believing in all that we experience, witnessed, and/or participated in specific events. Now the point here is this; rare is the Man who pauses a while, contemplating the truth of all his beliefs, considering the vastness of the falsities of much of these beliefs. And, apart from such a few introspective, the fact of the matter is most human beings live and die believing they have genuinely experienced the entirety of all that they have experienced, considering, in effect, the entire film of their life was ‘real.’ . (shrink)

As many scholars have written about the Vietnam War, this thesis, Forgotten Memories: Re-Constructing the Vietnam War in Films, explores a different approach to this topic by examining films. Historical films are becoming increasingly important in shaping the way the past is understood and remembered. After the war ended, many Hollywood films have continued to capture the atrocities of the war that affected the war narrative of the Vietnam War. American politics and the public suffered from the Vietnam Syndrome, and (...) they lost confidence in the military and government structures. These emotions are translated into Hollywood films about the Vietnam War. The victory of the Gulf War in 1991 finally helped them to get out of the shadow of that psychological fear in foreign intervention. The Vietnam War films have made its comeback after the September 11th attacks. Many scholars have compared the war against terrorism is similar to the war against communism in the 1950s. Over the years, Hollywood has produced many films that are either directly about or set against the backdrop of the Vietnam War. The different representations of the Vietnam War presenting in both American and Vietnamese films produced between 1979 and 2005 explain how the film war narrative reconstruct the memory of history. By examining both American and Vietnamese films about the Vietnam War, this study calls attention to the importance of the Vietnamese experience in our understanding of the Vietnam War and brings an international perspective to the study of this subject in cultural and film studies. By identifying trends and discussing similarities and differences in film-narrative tropes across both American and Vietnamese films about the Vietnam War, this research argues that the film industry has shaped the collective memory of the Vietnam War. In doing so, Hollywood has highlighted the memorable and traumatic events that occurred during the war to construct the film narrative and generate a widespread perception of v the war. Vietnam’s government, due to the war’s destruction, made it a top priority to rebuild the economy and used films to deliver only social propaganda, expressing its gratitude and sympathy to families who lost their loved ones in the war. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to (...) a project that remains fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our (...) ordinary, unreflective relation to time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

Large changes in a scene often become difficult to notice if made during an eye movement, image flicker, movie cut, or other such disturbance. It is argued here that this _change blindness_ can serve as a useful tool to explore various aspects of vision. This argument centers around the proposal that focused attention is needed for the explicit perception of change. Given this, the study of change perception can provide a useful way to determine the nature of visual (...) attention, and to cast new light on the way that it is?and is not?involved in visual perception. To illustrate the power of this approach, this paper surveys its use in exploring three different aspects of vision. The first concerns the general nature of _seeing_. To explain why change blindness can be easily induced in experiments but apparently not in everyday life, it is proposed that perception involves a _virtual representation_, where object representations do not accumulate, but are formed as needed. An architecture containing both attentional and nonattentional streams is proposed as a way to implement this scheme. The second aspect concerns the ability of observers to detect change even when they have no visual experience of it. This _sensing_ is found to take on at least two forms: detection without visual experience (but still with conscious awareness), and detection without any awareness at all. It is proposed that these are both due to the operation of a nonattentional visual stream. The final aspect considered is the nature of visual attention itself?the mechanisms involved when _scrutinizing_ items. Experiments using controlled stimuli show the existence of various limits on visual search for change. It is shown that these limits provide a powerful means to map out the attentional mechanisms involved. (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and (...) cover songs as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

Time has multiple aspects and is difficult to define as one unique entity, which therefore led to multiple interpretations in physics and philosophy. However, if the perception of time is considered as a composite time concept, it can be decomposed into basic invariable components for the perception of progressive and support-fixed time and into secondary components with possible association to unit-defined time or tense. Progressive time corresponds to Bergson’s definition of duration without boundaries, which cannot be divided for (...) measurements. Time periods are already lying in the past and fixed on different kinds of support. The human memory is the first automatic support, but any other support suitable for time registration can also be considered. The true reproduction of original time from any support requires conditions identical to the initial conditions, if not time reproduction becomes artificially modified as can be seen with a film. Time reproduction can be artificially accelerated, slowed down, extended or diminished, and also inverted from the present to the past, which only depends on the manipulation of the support, to which time is firmly linked. Tense associated to progressive and support fixed time is a psychological property directly dependent on an observer, who judges his present as immediate, his past as finished and his future as uncertain. Events can be secondarily associated to the tenses of an observer. Unit-defined time is essential for physics and normal live and is obtained by comparison of support-fixed time to systems with regular motions, like clocks. The association of time perception to time units can also be broken. Einstein’s time units became relative, in quantum mechanics, some physicist eliminated time units, others maintained them. Nevertheless, even the complete elimination of time units is not identical to timelessness, since the psychological perception of progressive and support-fixed time still remains and cannot be ignored. It is not seizable by physical methods, but experienced by everybody in everyday life. Contemporary physics can only abandon the association of time units or tenses to the basic components in perceived time. (shrink)

I argue that we sometimes visually perceive the intentions of others. Just as we can see something as blue or as moving to the left, so too can we see someone as intending to evade detection or as aiming to traverse a physical obstacle. I consider the typical subject presented with the Heider and Simmel movie, a widely studied ‘animacy’ stimulus, and I argue that this subject mentally attributes proximal intentions to some of the objects in the movie. I further (...) argue that these attributions are unrevisable in a certain sense and that this result can be used to as part of an argument that these attributions are not post-perceptual thoughts. Finally, I suggest that if these attributions are visual experiences, and more particularly visual illusions, their unrevisability can be satisfyingly explained, by appealing to the mechanisms which underlie visual illusions more generally. (shrink)

According to the neo-Kantian and cultural anthropologist Ernst Cassirer, man always interacts with nature. This assumption forms the basis for his philosophical approach to the Philosophy of Symbolic Forms of 1929. It is based on the thesis that we do not conceive nature as objects (‘Ding-Wahrnehmung’), but immediately feel and suffer nature through the so-called ‘perception of expression’ (‘Ausdrucks-Wahrnehmung’). Thus, our understanding of the world is based on interaction with nature, because feeling and suffering depend on something we feel (...) and suffer about. In conclusion, Cassirer developed already a theory of Enaktivismus, embodiment, and respectively to modern film theories of immersion. The thesis of the following paper is based on these findings of Cassirer and states that that there is no dichotomy between nature and man. (shrink)

This paper explores the relationship between technological and human intelligence through ‘The New Natural’, a term which at once accepts the nature of technological intelligence as real instead of forever ‘artificial’. It supports an evolutionary, reciprocal relationship between humans and technology that culminates in technological singularity and rejects the primacy of human perception known to popular human access theories, before seriously considering the ‘decentered’ implications of posthuman access. In conversation with western-centric sci-fi film of the late twentieth century, (...) then, this philosophical study explores how the concept of a technology-only intelligence entity can: (1) help us dispose of the core problems often associated with human-only access, (2) neutral-ize our fears of human annihilation at the hands of technological intelligence, and (3) establish strong grounds for why we may have to push back against early conceptions of nature’s opposition to technology, if only so we may resist falling into the great, and most human-centered traps known to the Anthropocene. (shrink)

Suppose that you're lying in bed. You just woke up. But you're alert. Your mind is clear and you have no distractions. As you lie there, you think to yourself, ‘2 + 2 = 4.’ The thought just pops into your head. But, wanting to be sure of your mathematical insight, you once again think ‘2 + 2 = 4’, this time really meditating on your thought. Now suppose that you're sitting in an empty movie theatre. The lighting is normal (...) and the screen in front of you is blank. Then at some point an image of a peach is flashed on the screen. The image isn't up there for long. In fact, it's only on the screen for what seems like an instant—just long enough for you to see it. These two scenarios are a bit mundane. But, as I will show, reflection on them can yield significant results concerning the nature of persons and their persistence through time. First I will show that thought and perception have temporal constraints whereby your thinking or perceiving in the above scenarios implies that you exist through a temporally.. (shrink)

The main accounts of the documentary in contemporary analytic aesthetics have difficulties in dealing with the distinction between documentaries and docudramas. On the one hand, the assertion-based accounts proposed by Carroll, Ponech and Plantinga cannot properly differentiate documentaries from docudramas. On the other hand, Currie’s account can do so by relying on the notion of trace but this involves an undesirable side-effect, namely, the exclusion, from the documentary, of those documentaries that do not include traces of their subjects, as for (...) instance documentaries that resort to reenactments. Is there a way to exclude docudramas from the documentary without also excluding other films that we usually treat as documentaries? The paper affirmatively answers to this question by relying on the notion perceptual belief, that is, a belief that one can form by endorsing one's perception. Documentaries are defined as films that mandate us to form perceptual beliefs. Even if a docudrama mandates us to form beliefs, it does not mandate us to form perceptual beliefs, and thus does not count as a documentary. By contrast, a documentary that resorts to reenactments still mandates us to form perceptual beliefs and thus properly satisfies the definition proposed. (shrink)

In the present study, I will consider the crisis of the movement image, and the emergence of a new type of image, namely, the time image. First, I will analyze certain basic concepts used by Deleuze (1925-1995) and by Bergson (1859- 1941) to understand the new type of image that emerges from an interruption of our natural perception, granting us -by separating ourselves from all our previous experiences- pure optical and sound perceptions. Secondly, I will trace the changes that, (...) both inside and outside cinema, made possible this emergence. Finally, according to the signs of the time-image developed by Deleuze, I will analyze the film Paterson (2016), by Jim Jarmusch. The film, inspired not only by the work of the poet William Carlos Williams (1883-1963), but also by other poets of the New York School, seeks to portray, through visual descriptions, the details of our daily lives. Key-words: natural perception - pure perception - movement image - time image - cinema. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not (...) only artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

The title of this piece is meant to evoke at least three sources. The first – and perhaps the only obvious one – concerns the ability of holograms to display parallax, a shifting of visual viewpoint that allows a three-dimensional image to reveal background objects behind those in the foreground. This parallax view is a unique feature of holograms as visual media. A second allusion is to the American film The Parallax View (1974, director A. J. Pakula), a rather (...) paranoid thriller focusing on conspiracy theories concerning government and corporations. To a casual observer, the bare details of the military origins of holography suggest just such cynical and centrally-directed development, although I hope to dispel such simplistic ideas here. And a third passing reference is to the book The Parallax View (2006) by Slavoj Zizek, a wide-ranging and deep exploration of duality in political views, ontological interpretations and scientific methods, among other topics. Zizek’s theme, as well as Pakula’s, is relevant to my approach, which focuses on a parallax of both practice and intent. During the first successful decade of holography, conflicting viewpoints developed between distinct communities: the militarily-guided engineers who invented practical holography, and the later imaging scientists and artisans who stressed three-dimensionality and other attributes instead of the original goal of optical image processing. I argue that distinct groups of users had different perceptions of what holography is and what it is for. (shrink)

Guided by key insights of the four great philosophers mentioned in the title, here, in review of and expanding on our earlier work (Burchard, 2005, 2011), we present an exposition of the role played by language, & in the broader sense, λογοζ, the Logos, in how the CNS, the brain, is running the human being. Evolution by neural Darwinism has been forcing the linguistic nature of mind, enabling it to overcome & exploit the cognitive gap between an animal and its (...) world by recognizing environmental structures. Our work was greatly influenced by Heidegger’s lecture notes on metaphysics (Heidegger, 1935). We found agreement with recent progress in neuroscience, but also mathematical foundations of language theory, equating Logos with the mathematical concept of structure. The mystery of perception across the gap is analyzed as radiation and molecules impinging on sensory neurons that carry linguistic information about gross environmental structures, and only remotely about the physical reality of elementary particles. The most important logical brain function is Ego or Self, guiding the workings of the brain as a logos machine. Ego or Self operates from neurons in frontopolar cortex with global receptive fields. The logos machine can function only by availing itself of global context, its internally stored noumenal cosmos NK, and the categorical-conceptual apparatus CCA, updated continually through the neural default mode network (Raichle, 2005). In the Transcendental Deduction, Immanuel Kant discovered that Ego or Self is responsible for conscious control in perception relying on concepts & categories for a fitting percept to be incorporated intoNK. The entire CNS runs as a “movie-in-the-brain” (Parvizi & Damasio, 2001), at peak speed processing simultaneously in a series of cortical centers a stack of up to twelve frames in gamma rhythm of 25 ms intervals. We equate global context, or NK, with our human world, Heidegger’s Dasein being-in-the-world, and are able to demonstrate that the great philosopher in EM parallels neuro-science concerning the human mind. (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative all along. After presenting and criticizing Carroll’s view, I interpret and expand upon Merleau-Ponty’s position, showing that his version of the analogy between cinematic perception and everyday perception is more convincing than Carroll’s. (shrink)

The aim of this paper is to argue that our experience of artworks is normally multimodal. It is the result of perceptual processing in more than one sense modality. In other words, multimodal experience of art is not the exception; it is the rule. I use the example of music in order to demonstrate the various ways in which the visual sense modality influences the auditory processing of music and conclude that this should make us look more closely at our (...) practices of engaging with artworks. (shrink)

Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in (...) nature, in that they are essentially gestural, referential, and symbolic, and they present material in a condensed and allusive form. Andy Warhol’s work is an example of the theatrical manipulation of presentational media to create a strange and unusual universe. (shrink)

Missing Links, A Book in Ten Sessions received the Award from the Association of Moving Image Researchers [AIM] for Best Monograph released in 2023. -/- Missing Links, A Book in Ten Sessions is Lucas Ferraço Nassif's elaboration on the work of art in Gilles Deleuze and Félix Guattari through description, time, cosmology, and desire production. The films of Chantal Akerman, alongside Anne Carson and Ludwig Wittgenstein, are his main objects of study. -/- //The book is available, open access.// -/- //In (...) Missing Links, Lucas Ferraço Nassif instructs that “cinema exists in the tension of desires, from everything that is in the game”. And “what is in the game vibrates”, or becomes perceptible in the tempo of film and filmic thought that somehow promises to reveal the nature of this world (maybe, a world that’s about to end). To approach such perception is to submit to description, says Nassif, and then proceeds to investigate the act of describing in all its perilous demand and exhausting impossibility. What can we know, after all, of Chantal Akerman’s Jeanne Dielman, at whom we look and look? Or of any seemingly-unified object that, in being worthy of our attention, must be recognized most fundamentally for the way it slips and blurs? I’m dazzled by this writer’s courage to “work on the void”, to tilt, heart in mouth, at ghosts and ruins. This is the drama I came for. — Matt Longabucco// -/- //Inside the cracks in Lucas Ferraço Nassif’s cinecriticism is an elegy for Chantal Akerman, born the same year as me and Anne Carson too, both here hailed. This elegy is composed as a montage that tells the tale of the Jewish filmmaker as desperado fleeing Sherriff Jean-Luc Godard on a runaway midnight train to Rio, which makes an unscheduled stop in Wittgenstein, Montana. What with all the humming, you just can’t see it. Or if you can, you can’t describe it. “We have nowhere else to start.” — Charles Bernstein// -/- //Lucas Ferraço Nassif’s expansive, rhizomatic project is “full” of missing links in the sense of plenitude: a surfeit of references, genres, affects, and paths for the reader to follow, the listener to harken, the viewer to watch. In the process of tracing affinities between the cast of characters in the intellectual drama staged here — from Jean-Luc Godard to Ludwig Wittgenstein, Anne Carson to Chantal Akerman, Gilles Deleuze to Jacques Lacan, and beyond — we have the chance to reconsider the articulations and boundaries, the flows and stoppages, between film and writing, autobiography and criticism, theory and practice. Missing Links is a ciné-poème of flickering, delicate attention that compels our immersion in turn. — Craig Dworkin//. (shrink)

Why interdisciplinary research in AI is so important, according to Jurassic Park. -/- “Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should.” -/- I think this quote resonates with us now more than ever, especially in the world of technological development. The writers of Jurassic Park were years ahead of their time with this powerful quote. -/- As we build new technology, and we push on to see what can actually (...) be achieved there is an undertone of sales to whatever we build. The end product must be sold somewhere and to someone. This can derail any good intentions, just as building a resort full of dinosaurs was sold as a fun attraction, we see later in the film that it became a resort of terror. -/- In the field of AI we are certainly late to the party with ethics and regulation. Indeed, even existing modelling protocols have been, in many cases, circumvented or potentially ignored. This has led to a widening of the gap in the interdisciplinary field of AI. This is compounded by pop culture representations of AI and the Ethicist’s potential lack of knowledge surrounding technical progression in the field of AI. There are now seemingly two separate branches that ought to be in sync. The first branch is a group of Philosophers led by the Author of Superintelligence, Nick Bostrom, who believe that there is a singularity where AI takes over the world and starts to kill off humans. The second branch is the Technical Cohort who are led by companies such as Google and Deepmind. The remit of these developers is to see what can be developed and produced. Ultimately a separate sales team will determine what products can be sold. -/- We have seen multiple failures of AI due to lack of interdisciplinary discourse. Some cases include misallocated or cut off financial support and healthcare. This indicates the prevalence of issues that can grow and become ever more complex. -/- So, we have to ask ourselves two questions: One, do the Philosophers have a point? Two, does that point refer to humans programming AI in such a way that the destruction of the human race is its optimal aim in order to create a better future world? -/- Is the development of AI that different to an island of genetically engineered Dinosaurs? -/- The only solution, in my view, is interdisciplinary discourse. (shrink)

This essay aims to appreciate the evolution of the problems regarding the ontological understanding of the photographic image and its derivative, the film, in the face of the sophistication of the apparatus of its production. The creative freedom in making images through optical machines is inversely proportional to their credibility as documents. Since its appearance in the human landscape, as a cultural object, the technology of recording images with lights has brought with it a complex of aporias about what (...) would the nature of the image produced by cameras be: a document or an artistic object, intentionally produced and with created meaning? Consequently: are they denotative or, necessarily, connotative? The development of automatic image capture in the 1980s represented the first update of the question. To what extent, and for how long, will it be possible to trust photography and film as documents through which man aims to access reality? The question now seems to be settled, definitively, in the face of the invention of artificial photography made by algorithms. (shrink)

The foundation of every society is the result of an arbitrary act: one of its parts takes control over the rest and (re)makes the world in its own image. Any sort of tribal, theocratic, feudal, political dimension in the history of our civilisation has indeed shaped reality according to its peculiar needs and aims, by means of a system of thought that could justify its permanence in time. The creation of artificial needs requires a distorted perception of inherent threshold (...) values; otherwise, Debord says, we wouldn't be the well-oiled cogs we're expected to be in the machinery of the system. The list of our natural needs is indeed quite short: only a few biological functions and a couple of psychophysical drives to be satisfied when necessary, such as sex and sociality. As a matter of fact, it doesn't take much for a human being to survive. Modern society can't afford to accept the concept of 'strictly necessary' though, not after its very existence became anachronistic and even threatening to a world ruled by the market-a world that needs buyers and consumers in order to survive. What Debord clearly points out is indeed the fake sense of freedom in our choices, the great lie presiding over our lives as consumers-a surrogate freedom that was bestowed upon us as yet another commodity. Even our dirtiest excesses are fed their daily fix of filth by the market; as long as our kinks imply some sort of purchase, we'll always find an industry willing to satisfy them. a use of the commodity arises that is sufficient unto itself; what this means for the consumer is an outpouring of religious zeal in honor of the commodity's sovereign freedom. waves of enthusiasm for particular products, fueled and boosted by the communications media, are propagated with lightning speed. a film sparks a fashion craze, or a magazine launches a chain of clubs that in turn spins off a line of products. the sheer fad item perfectly expresses the fact that, as the mass of commodities becomes more and more absurd, absurdity becomes a commodity in its own right... The spectacle is the moment when the commodity has attained the total occupation of social life. Not only is the relation to the commodity visible but it is all one sees: the world one sees is its world. Modern economic production extends its dictatorship extensively and intensively. In the least industrialized places, its reign is already attested by a few star commodities and by the imperialist domination imposed by regions which are ahead in the development of productivity. In the advanced regions, social space is invaded by a continuous superimposition of geological layers of commodities. At this point in the \"second industrial revolution,\" alienated consumption becomes for the masses a duty supplementary to alienated production. (shrink)

In recent years, a central debate in the philosophy of mind and cognitive science concerns the role of the body in perception and cognition. For many contemporary philosophers, not only cognition but also perception is connected mainly with the brain, where the processing of input from the senses takes place; whereas for the proponents of ‘embodied cognition’ other aspects of the body beyond the brain, including the environment, play a constitutive role in cognitive processes. In terms of (...) class='Hi'>perception, a new theory has emerged which stresses perception’s active character and claims that the embodied subject and the environment, with which it interacts, form a dynamic system. Supporters of ‘enactive perception’ such as Susan Hurley and Alva Noë maintain that the physical substrate or the supervenience basis of perceptual experience and phenomenal consciousness may include besides the brain and the nervous system other bodily and environmental features. Yet, it will be argued in this paper that the interaction between the subject and the environment forms a system of causal relations, so we can theoretically interfere in the causal chains and create hallucinations, which cannot be distinguished from veridical perception, or a virtual reality as in the film Matrix (1999). This kind of argument and its related thought experiments aim to stress the primacy of the brain in determining phenomenal states, and show that the body and certain interactions with the environment have a causal, but not a constitutive or essential role, in forming phenomenal consciousness. (shrink)

The extended mind thesis claims that at least some cognitive processes extend beyond the organism’s brain in that they are constituted by the organism’s actions on its surrounding environment. A more radical move would be to claim that social actions performed by the organism could at least constitute some of its mental processes. This can be called the socially extended mind thesis. Based on the notion of affordance as developed in the ecological psychology tradition, I defend the position that (...) class='Hi'>perception extends to the environment. Then I will expand the notion of affordance to encompass social affordances. Thus, perception can in some situations also be socially extended. (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in (...) environmental humanities to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

It seems plausible that visual experiences of darkness have perceptual phenomenal content that clearly differentiates them from absences of visual experiences. I argue, relying on psychological results concerning auditory attention, that the analogous claim is true about auditory experiences of silence. More specifically, I propose that experiences of silence present empty spatial directions like ‘right’ or ‘left’, and so have egocentric spatial content. Furthermore, I claim that such content is genuinely auditory and phenomenal in the sense that one can, in (...) principle, recognize that one is experiencing silence. This position is far from obvious, as the majority of theories concerning silence perception do not ascribe perceptual phenomenal content to experiences of silence. (shrink)

When we see an object, we also represent those parts of it that are not visible. The question is how we represent them: this is the problem of amodal perception. I will consider three possible accounts: (a) we see them, (b) we have non-perceptual beliefs about them and (c) we have immediate perceptual access to them, and point out that all of these views face both empirical and conceptual objections. I suggest and defend a fourth account, according to which (...) we represent the occluded parts of perceived objects by means of mental imagery. This conclusion could be thought of as a (weak) version of the Strawsonian dictum, according to which “imagination is a necessary ingredient of perception itself”. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the (...) Nazi regime was not pure propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

When we perceive an object, we perceive the object from a perspective. As a consequence of the perspectival nature of perception, when we perceive, say, a circular coin from different angles, there is a respect in which the coin looks circular throughout, but also a respect in which the coin's appearance changes. More generally, perception of shape and size properties has both a constant aspect—an aspect that remains stable across changes in perspective—and a perspectival aspect—an aspect that changes (...) depending on one's perspective on the object. How should we account for the perspectival aspect of spatial perception? We present a framework within which to discuss the perspectival aspect of perception and put forward three desiderata that any account of the perspectival aspect of perception should satisfy. We discuss views on which the perspectival aspect of perception is analyzed in terms of constitutively mind-dependent appearance properties as well as views on which the perspectival aspect of perception is analyzed in terms of representations of mind-independent perspectival properties. (shrink)

ABSTRACT The difference between perception and cognition seems introspectively obvious in many cases. Perceiving and thinking have also been assigned quite different roles, in epistemology, in theories of reference and of mental content, in philosophy of psychology, and elsewhere. Yet what is the nature of the distinction? In what way, or ways, do perception and cognition differ? The paper reviews recent work on these questions. Four main respects in which perception and cognition have been held to differ (...) are discussed. First, their phenomenal character, such as the often-remarked vivacity or immediacy of perception. Second, the way in which they represent the world, e.g. the non-propositional nature of the contents, or non-discursive character of the vehicles, that have been held to characterise perceptual representation. Third, their place in cognitive architecture, i.e., roughly, in the information-flow of the mind, such as their alleged (non-)modularity. Fourth, their mind-world relations, e.g. the way in which perceptions seem to be tightly causally linked with distal or proximal stimuli. Against this background, we distinguish some main options for an account of the perception/cognition distinction, in particular concerning whether there is one, several, or no interesting and principled distinction(s) to be drawn here. (shrink)

In this Introduction we introduce the central themes of the Evaluative Perception volume. After identifying historical and recent contemporary work on this topic, we discuss some central questions under three headings: (1) Questions about the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are experiences of values sui generis? Are values necessary for certain kinds of experience? (2) Questions about the Epistemology of Evaluative Perception: Can evaluative experiences (...) ever justify evaluative judgments? Are experiences of values necessary for certain kinds of justified evaluative judgments? (3) Questions about Value Theory and Evaluative Perception: Is the existence of evaluative experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of value experience? (shrink)

The success of the Bayesian approach to perception suggests probabilistic perceptual representations. But if perceptual representation is probabilistic, why doesn't normal conscious perception reflect the full probability distributions that the probabilistic point of view endorses? For example, neurons in MT/V5 that respond to the direction of motion are broadly tuned: a patch of cortex that is tuned to vertical motion also responds to horizontal motion, but when we see vertical motion, foveally, in good conditions, it does not look (...) at all horizontal. This article argues that the best Bayesian approach to this problem does not require probabilistic representation. (shrink)

Predictive approaches to the mind claim that perception, cognition, and action can be understood in terms of a single framework: a hierarchy of Bayesian models employing the computational strategy of predictive coding. Proponents of this view disagree, however, over the extent to which perception is direct on the predictive approach. I argue that we can resolve these disagreements by identifying three distinct notions of perceptual directness: psychological, metaphysical, and epistemological. I propose that perception is plausibly construed as (...) psychologically indirect on the predictive approach, in the sense of being constructivist or inferential. It would be wrong to conclude from this, however, that perception is therefore indirect in a metaphysical or epistemological sense on the predictive approach. In the metaphysical case, claims about the inferential properties of constructivist perceptual mechanisms are consistent with both direct and indirect solutions to the metaphysical problem of perception (e.g. naïve realism, representationalism, sense datum theory). In the epistemological case, claims about the inferential properties of constructivist perceptual mechanisms are consistent with both direct and indirect approaches to the justification of perceptual belief. In this paper, I demonstrate how proponents of the predictive approach have conflated these distinct notions of perceptual directness and indirectness, and I propose alternative strategies for developing the philosophical consequences of the approach. (shrink)

Here are four examples of “seeing.” You see that something green is wriggling. You see that an iguana is in distress. You see that someone is wrongfully harming an iguana. You see that torturing animals is wrong. The first is an example of low-level perception. You visually represent color and motion. The second is an example of high-level perception. You visually represent kind properties and mental properties. The third is an example of moral perception. You have an (...) impression of moral properties. The fourth is an example of intuition. You intellectually grasp a general moral truth. Should moral perceptions be thought of as high-level perceptions or as intuitions? Most proponents of moral perception have thought of them as high-level perceptions. I give epistemological and methodological reasons for thinking that at least some are examples of what I call low-level intuitions—experiences in which we both apprehend abstract generalities and apply them to concrete particulars. (shrink)

This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural change (...) in America during that time. I suggest also that it helps demonstrate that the charge made by a famous cultural critic of the time—Newton Minow, who was Chairman of the Federal Communications Corporation from 1961 to 1963—that this period of commercial TV was a “vast wasteland” was not merely arrogantly elitist, but was in fact patently false. The 1950s and early 1960s saw many amazingly good series in a wide variety of genres. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is (...) the only French-produced movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...) question: what is realism, if these are all to count as species of it? In answer, I articulate a sort of picture we have of realism, not just in film but in representations in general. I then ask how far each of the candidate realisms fares, when compared with that image. (shrink)