Some philosophers—for example, Husserl, Alva Noë and Susanna Siegel—have claimed that the contents of visual sensations standardly include references to the later visual episodes that one would have under certain conditions. The current paper claims that there are no good reasons for accepting that view. Instead, it is argued that the conscious phenomena which have been cited as manifesting the presence within visual contents of references to ways that things would look in the course of later (...) class='Hi'>visual sensations are better explained in another manner: in terms of references within the contents of ordinary visual sensations to ways that things actually then look from various perspectives. (shrink)

According to the well-known Bradley’s Regress argument, one cannot explain the unity of states of affairs by referring to relations combining objects with properties. This argument has been widely discussed within analytic metaphysics, but has not been recognized as relevant for the philosophy of perception. I argue that the mainstream characterization of visual content is threatened by the Bradley’s Regress, and the most influential metaphysical solutions to the regress argument cannot be applied in the context of visual (...) content. However, I show that a proper solution to Bradley’s Regress can be formulated by taking into consideration features of visual content suggested by empirical research in vision science. (shrink)

DETERMINACY is the claim that covert shifts in visual attention sometimes affect the determinacy of visual content (capital letters will distinguish the claim from the familiar word, 'determinacy'). Representationalism is the claim that visual phenomenology supervenes on visual representational content. Both claims are popular among contemporary philosophers of mind, and DETERMINACY has been employed in defense of representationalism. I claim that existing arguments in favor of DETERMINACY are inconclusive. As a result, DETERMINACY-based arguments in (...) support of representationalism are not strong ones. (shrink)

It is clear that visual imagery is somehow significantly visual. Some theorists, like Kosslyn, claim that the visual nature of visualisations derives from features of the neural processes which underlie those episodes. Pylyshyn claims, however, that it may merely reflect special features of the contents which we grasp when we visualise things. This paper discusses and rejects Pylyshyn's own attempts to identify the respects in which the contents of visualisations are notably visual. It then offers a (...) novel and very different account of what is distinctively sensory about the contents of sensory images. The paper's alternative account is used in explaining various pieces of phenomenological and behavioural data concerning visualisation. Finally, it is tentatively suggested that the proposed account of the contents of sensory images may also shed light upon some of the neurological data involving visualisation and sensory imagery more generally. (shrink)

Evidence from cognitive science supports the claim that humans and other animals see the world as divided into objects. Although this claim is widely accepted, it remains unclear whether the mechanisms of visual reference have representational content or are directly instantiated in the functional architecture. I put forward a version of the former approach that construes object files as icons for objects. This view is consistent with the evidence that motivates the architectural account, can respond to the key (...) arguments against representational accounts, and has explanatory advantages. I draw general lessons for the philosophy of perception and the naturalization of intentionality. (shrink)

The usual visual experiences possess a perspectival phenomenology as they seem to present objects from a certain perspective. Nevertheless, it is not obvious how to characterise experiential content determining such phenomenology. In particular, while there are many works investigating perspectival properties of experienced objects, a question regarding how subject is represented in visual perspectival experiences attracted less attention. In order to address this problem, I consider four popular phenomenal intuitions regarding perspectival experiences and argue that the major (...) theories of perspectival experiences do not account for all of them. Relying on these observations, I show how a theory which accommodates all these intuitions can be developed by (a) recognising that visual perspectival experiences are, in fact, multimodal visuo-bodily experiences and (b) distinguishing between egocentric and structural contents. (shrink)

This paper defends the Content View: the thesis that all visual experiences have contents.

According to the Self-Location Thesis, certain types of visual experiences have self-locating and so first-person, spatial contents. Such self-locating contents are typically specified in relational egocentric terms. So understood, visual experiences provide support for the claim that there is a kind of self-consciousness found in experiential states. This paper critically examines the Self-Location Thesis with respect to dynamic-reflexive visual experiences, which involve the movement of an object toward the location of the perceiving subject. The main aim of (...) this paper is to offer an alternative interpretation of these cases which resists attributing them self-locating content, arguing for a replacement of the de se component with a non-conceptual equivalent of the indexical ‘here’. In its final section, the paper also considers an extension of the h-replacement account to cases of visual kinesthesis. (shrink)

I argue that, holding that the specification of Intentional content of the visual experience should be in the form of a proposition, John Searle gives up the first-person Intentionality and therefore bypasses the first-person important distinction between simple seeing and judgmental seeing. The specification of the content only in the form of the proposition does not allow making such a distinction on the level of description. Then I argue that the feature of the causal self-referentiality of the (...) visual experience belongs to its psychological mode but not, as Searle holds, to the Intentional content of the visual experience. (shrink)

Existentialist accounts maintain that visual phenomenal content takes the logical form of an existentially quantified sentence. These accounts do not make phenomenal content specific enough. Singularist accounts posit a singular content in which the seen object is a constituent. These accounts make phenomenal content too specific. My account gets the specificity of visual phenomenal content just right. My account begins with John Searle's suggestion that visual experience represents an object as seen, moves (...) this relation outside the scope of the existential quantifier and then replaces it with the relation of objects being ‘present as accessible’, as described by Alva Noë. (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)

When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator (...) functions in the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)

Through extensive training, experts acquire specialized knowledge and abilities. In this paper, I argue that experts also acquire specialized visual experiences. Specifically, I articulate and defend the account that experts enjoy visual experiences that represent gestalt properties through perceptual learning. I survey an array of empirical studies on face perception and perceptual expertise that support this account. I also look at studies on perceptual adaptation that some might argue present a problem for my account. I show how the (...) data are subject to an interpretation that is friendly to it. Last, I address two theoretical objections to the claim that visual experiences represent gestalt properties. (shrink)

A visual experience, as understood here, is a sensory event that is conscious, or like something to undergo. This chapter focuses on three issues concerning such experiences. The first issue is the so-called ‘transparency’ of experiences. The chapter distinguishes a number of different interpretations of the suggestion that visual experiences are ‘transparent’. It then discusses in what sense, if any, visual experiences are ‘transparent’, and what further conclusions one can draw from that. The second issue is which (...) properties we are presented with in visual experiences. It is widely accepted that we sometimes experience red for example. But exactly which properties do we sometimes visually experience, and which properties do we never visually experience? The third issue is which particulars, if any, we are presented with in visual experiences. Do we for example sometimes visually experience mind-independent particulars like trees? Do we sometimes visually experience mind-dependent, particular ‘sense-data’? (shrink)

It has long been known that memory need not be a literal reproduction of the past but may be a constructive process. To say that memory is a constructive process is to say that the encoded content may differ from the retrieved content. At the same time, memory is bound by the authenticity constraint which states that the memory content must be true to the subject's original perception of reality. This paper addresses the question of how the (...) constructive nature of visual memory can be reconciled with the authenticity constraint. In what respect and to what extent may the content of a visual memory differ from the original perceptual state while still adequately reflecting the subject's original perception? (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)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when (...) participants are presented with mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

A common objection to representationalism is that a representationalist view of phenomenal character cannot accommodate the effects that shifts in covert attention have on visual phenomenology: covert attention can make items more visually prominent than they would otherwise be without altering the content of visual experience. Recent empirical work on attention casts doubt on previous attempts to advance this type of objection to representationalism and it also points the way to an alternative development of the objection.

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)

Phenomenal objectivism explains perceptual phenomenal character by reducing it to an awareness of mind-independent objects, properties, and relations. A challenge for this view is that there is a sense in which a distant tree looks smaller than a closer tree even when they are the same objective size (perceptual size variation). The dual content view is a popular objectivist account in which such experiences are explained by my objective spatial relation to the tree, in particular visual angle (perspectival (...) size). I describe a series of first-person experiments for investigating size experience. I use a ruler as a first-person method for operationalising perspectival size (Experiment 1). I use the corridor illusion (Experiment 2), outlining one’s head in the mirror (Experiment 3), and outlining the size of objects on glass (Experiment 4) to show a phenomenal difference in size for items in different depth contexts, despite being identical in visual angle. These finding demonstrate that visual angle cannot account for these spatial experiences. Psychological evidence provides further support for the thesis that subjects do not experience visual angle when depth information is present. Together this evidence supports the hypothesis that perceptual size variation cannot be accounted for by visual angle, hence undermining a plausible version of the dual content theory. This outcome, combined with problems raised by alternative objectivist accounts of size variation, provides support for a subjectivist account of size experience. (shrink)

In the paper I argue that medieval philosophers proposed several notions of the senses’ activity in perception. I illustrate the point using the example of two Franciscan thinkers – Peter Olivi (ca. 1248–1298) and Peter Auriol (ca. 1280–1322). Olivi’s notion of active perception assumes that every perceptual act demands a prior focusing of the mind’s attention. Furthermore, Olivi is partially inspired by the extramissionist theories of vision and reinterprets the notion of a visual ray postulated by them as a (...) useful model for explaining attention and attentional shifts. In Auriol’s view, perception is active because it participates in producing a perceptual content. e senses not only receive information from the environment, they also actively process it and, in Auriol’s words, put the external object into apparent being. e peculiar feature of Auriol’s account is his obvious tendency to conceive perceptual content as both dependent on our perceptual activity and external to the senses. Finally, I consider the two theories in the context of mirror perception – while Olivi focused on the ability of mirrors to switch attention’s direction, Auriol investigated the metaphysical nature of mirror images. (shrink)

A picture provides both configurational content concerning its design features, and recognitional content about its external subject. But how is this possible, since all that a viewer can actually see is the picture's own design? I argue that the most plausible explanation is that a picture's design has a dual function. It both encodes artistically relevant design content, and in turn that design content encodes the subject content of the picture--producing overall a double content (...) structure. Also, it is highly desirable that a resulting double content theory for pictures should be closely integrated with a related double content account of perceptual content generally, so as to avoid suspicions of ad hoc theorizing that would apply only to pictorial content. The resulting theory should also be able to explain the inevitable ambiguities involved in abstracting two levels of visual content from a single visible surface, as well as explaining the systematic relations between the two kinds of content. I provide an orientational theory--based on a recently developed spatial logic of orientational concepts--for this purpose, and show how depictive and perceptual content in general can be usefully explained in these orientational terms. This account of picturing also integrates well with a previously developed, more generic double content theory of art, and it is also plausible in cognitive science terms. (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)

Intentionalism about visual experiences is the view according to which the phenomenal character of a visual experience supervenes on the content of this experience. One of the most influential objections to this view is about blur: seeing a fuzzy contour clearly and seeing a sharp contour blurrily have different phenomenal character but the same content. I argue that this objection does not work if we understand perceptual content simply, and not particularly controversially, as partly constituted (...) by the sum total of perceptually attributed properties, some determinable, some determinate. (shrink)

Some have claimed that people with very different beliefs literally see the world differently. Thus Thomas Kuhn: ‘what a man sees depends both upon what he looks at and also upon what his previous visual—conceptual experience has taught him to see’ (Kuhn 1970, p. ll3). This view — call it ‘Perceptual Relativism’ — entails that a scientist and a child may look at a cathode ray tube and, in a sense, the first will see it while the second won’t. (...) The claim is not, of course, that the child’s experience is ‘empty’; but that, unlike the scientist, it does not see the tube as a cathode ray tube. One way of supporting this claim is to say that one cannot see something as an F unless one has the concept F. Since the child plainly lacks the concept of a cathode ray tube, it cannot see it as a cathode ray tube. Although Perceptual Relativism is hard to believe, this supporting suggestion is not so implausible. After all, when we see (and more generally, perceive) the world, the world is presented to us in a particular way; so how can we see it as being that way unless we have some idea or conception of the way it is presented? We need not be committed to a representative theory of perception to think that perceptions in some sense represent the world. We can express this by saying that perceptions have content. Now it is a commonplace that the contents of beliefs and the other propositional attitudes involve concepts. The belief that this thing is a cathode ray tube involves, in some sense, the concept cathode ray tube. So the line of thought behind Perceptual Relativism may be expressed thus: seeing an F as an F is a state with content. (shrink)

Visual perception is widely taken to present properties such as redness, roundness, and so on. This in turn might be thought to give rise to accuracy conditions for experience, and so content, regardless of which metaphysical view of perception one endorses. An influential version of this argument—Susanna Siegel’s ’Argument from Appearing’—aims to establish the existence of content as common ground between representational and relational views of perception. This goes against proponents of ‘austere’ relationalism who deny that (...) class='Hi'>content plays a substantive role in philosophical explanations of conscious perceptual experience. Though Siegel’s argument purports to be neutral with respect to the metaphysics of perception, it relies upon an equivocation between the presentation of property-types and property-instances. Consequently, the argument begs the question against the austere relational view, and so fails to establish the desired conclusion. So while relationalists can and should allow that experiences have accuracy conditions, it does not follow from this that they have contents of any philosophically interesting or significant kind. (shrink)

Certain simple thoughts about pictures suggest that the contents of pictures are closely bound to vision. But how far can the striking features of depiction be accounted for merely in terms of the especially visual contents which belong to pictures, without considering, for example, any issues concerning the nature of the visual experiences with which pictures provide us? This article addresses that question by providing an account of the distinctively visual contents belonging to pictures, and by using (...) that account to explain many notable general facts about depiction. Some implications of the resulting framework for the main stream of current theorizing about pictorial representation are also discussed. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I offer (...) a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

Common sense suggests that visual consciousness is essential to skilled motor action, but Andy Clark—inspired by Milner and Goodale's dual visual systems theory—has appealed to a wide range of experimental dissociations to argue that such an assumption is false. Critics of Clark's argument contend that the content driving motor action is actually within subjects' experience, just not easily discovered. In this article, I argue that even if such content exists, it cannot be guiding motor action, since (...) a review of current visual neuroscience indicates that the visual brain areas producing conscious representations are distinct from those driving motor action. (shrink)

Milner and Goodale's influential account of the primate cortical visual streams involves a division of consciousness between them, for it is the ventral stream that has the responsibility for visual consciousness. Hence, the dorsal visual stream is a ‘zombie’ stream. In this article, I argue that certain information carried by the dorsal stream likely plays a central role in the egocentric spatial content of experience, especially the experience of visual spatial constancy. Thus, the dorsal stream (...) contributes to a pervasive feature of consciousness. (shrink)

I argue for a manipulationist-mechanistic framework for content-NCC research in the case of visual consciousness (Bechtel 2008; Neisser 2012). Reference to mechanisms is common in the NCC research. Furthermore, recent developments in non-invasive brain stimulation techniques (NIBS) lend support to a manipulationist standpoint. The crucial question is to understand what is changed after manipulation of a brain mechanism. In the second part of the paper I review the literature on intentionalism, and argue that intervention on the neural mechanism (...) is likely to change the intentional content of consciousness. This urges us to shift from content-NCC to what I call “intentional mechanisms”. Such mechanisms, it is argued, should be understood as neural prerequisites of conscious visual experience. (shrink)

[Open Access.] Perceptual experiences have presentational phenomenology: we seem to encounter real situations in the course of visual experiences, for instance. The current paper articulates and defends the claim that the contents of at least some perceptual experiences are inherently presentational. On this view, perceptual contents are not always forceless in the way that, say, the propositional content that 2 + 2 = 4 is generally taken to be, as a content that may be asserted or denied (...) or merely supposed; rather, there are perceptual contents such that any mental state or episode which has the relevant content must be one in which things seem to the given subject to be a certain way. Intuitive motivation for the view is presented and an explanatory line of argument in support of it is developed: it is argued that the recognition of inherently presentational perceptual contents allows us to explain certain representational limitations to which ordinary visualizations and other forms of perceptual mental imagery are subject. Some potential objections to the position are explored, leading to further elaboration of it. (shrink)

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

According to “actionism” (Noë 2010), perception constitutively depends on implicit knowledge of the way sensory stimulations vary as a consequence of the perceiver’s self-movement. My aim in this contribution is to develop an alternative conception of the role of action in perception present in the work of Gareth Evans using resources provided by Ruth Millikan’s biosemantic theory of mental representation.

Blindsight is a kind of residual vision found in people with lesions to V1. Subjects with blindsight typically report no visual awareness, but they are nonetheless able to make above-chance guesses about the shape, location, color and movement of visual stimuli presented to them in their blind field. A different kind of blindsight, sometimes called type 2 blindsight, is a kind of residual vision found in patients with V1 lesions in the presence of some residual awareness. Type 2 (...) blindsight differs from ordinary visual experience in lacking the particularity, transparency and fine-grainedness often taken to be essential to visual experience, at least in veridical cases. I argue that the case of type 2 blindsight provides a counterexample to the view that these characteristics are essential to veridical visual experience and that this gives us reason to resist the view that visual experience is essentially a perceptual relation to external objects. In the second part of the paper I argue that the case of type 2 blindsight yields important insights into the effects of attentional modulation on perceptual content and that cases of attentional modulation of appearance are not at odds with the view that the phenomenology of visual experience flows from its content. (shrink)

Arguments for attributing non-conceptual content to experience have predominantly been motivated by aspects of the visual perception of empirical properties. In this article, I pursue a different strategy, arguing that a specific class of affective-evaluative experiences have non-conceptual content. The examples drawn on are affective-evaluative experiences of first exposure, in which the subject has a felt valenced intentional attitude towards evaluative properties of the object of their experience, but lacks any powers of conceptual discrimination regarding those evaluative (...) properties. I also show that by accepting this thesis we can explain relevant features of evaluative understanding. (shrink)

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)

Abstract: How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense- perceptually given while the subject is occupying the spatial perspective on the object that they currently are – I call this the horizonality (...) of visual experience. Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

While it is commonly observed that visual experiences have an egocentric character, it is less clear how to properly characterize it. This manuscript presents a new argument in favor of a thesis that (a) visual experiences represent a subject-element, i.e., an element to which the perceived objects stand in egocentric relations, and (b) the subject-element is represented as a complex bodily structure. More specifically, it is argued that there are two plausible interpretations of directional perceptual qualities such as (...) ‘being to the left’: (a) representing directional qualities consists in representing objects as having intrinsic properties, or (b) representing directional qualities consists in representing objects as related to parts of the bodily structure. Relying on this observation, it is shown that only the second option can explain the role of directional qualities in action selection based on visual experiences. Consequently, the most plausible interpretation of directional qualities is that, in representing objects as being to the left or right, visual experiences represent objects as being related to parts of the bodily structure. (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)

With the rapidly growing amounts of information, visualization is becoming increasingly important, as it allows users to easily explore and understand large amounts of information. However the field of information visualiza- tion currently lacks sufficient theoretical foundations. This article addresses foundational questions connecting information visualization with computing and philosophy studies. The idea of multiscale information granula- tion is described based on two fundamental concepts: information (structure) and computation (process). A new information processing paradigm of Granular Computing enables stepwise increase of (...) granulation/aggregation of information on different levels of resolution, which makes possible dynamical viewing of data. Information produced by Google Earth is an illustration of visualization based on clustering (granulation) of information on a succession of layers. Depending on level, specific emergent properties become visible as a result of different ways of aggregation of data/information. As information visualization ultimately aims at amplifying cognition, we discuss the process of simulation and emulation in relation to cognition, and in particular visual cognition. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness (...) motivates a view of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

This is a draft of what became a contribution to a virtual symposium on Susanna Siegel's "The Content of Visual Experience". It takes issue with her claims, and arguments, that perceptual experience has representational content.

Perceptual content is conceptual. In this paper, some arguments against this thesis are examined and rebutted. The Richness argument, that we could not have concepts for all the colours, is queried: Doesn't the Munsell system give us such concepts? The argument that we can perceive colours and shapes without possessing the relevant concepts is rebutted: we cannot do this, but the kind of concept-possession that is relevant here is not intellectual but perceptual.

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)

In general, visual experiences represent determinately. And visual experiences, generally, represent properties of distal objects like their colour, shape, and size, but they do not, generally, represent properties of proximal states like that of incoming light or the retina. By making perceptual constancies central to perceptual representation, Peter Schulte extends Karen Neander’s Causal-Informational Teleosemantic theory in order to accommodate these facts. However, by appealing to the psychophysics and chemistry of how light-related properties interact to produce stimulation to the (...) visual system and how the visual system processes such input to produce experiences, I argue that Schulte’s theory fails to accommodate the facts of distality and determinacy. (shrink)

Scholars have thoroughly discussed the visual aspects of Foucault’s archaeological and genealogical methods, as well as his own emphasis on how sight functions and what contexts and conditions shape how we see and what we can see. Yet while some of the images and visual devices he uses are frequently discussed, like Las Meninas and the panopticon, his diagrams in The Order of Things have received little attention. Why does Foucault diagram historical ways of thinking? What are we (...) supposed to see and understand through these diagrams? To examine the role of the diagram in Foucault’s archaeological method, this paper provides a close reading of how the classical quadrilateral visualizes the structure, function, content, principles, and underlying assumptions of language and thought. In analyzing the diagram as a way for visualizing history, this paper demonstrates how Foucault enacts a new visual language that emphasizes the contingency of thought. (shrink)

Both visual experience and conscious thought represent external objects, but in visual experience these objects seem present before the mind and available for direct access in a way that they don’t in conscious thought. In this paper, I introduce a couple of challenges that this “Scene-Immediacy” of visual experience raises for traditional versions of Representationalism. I then identify a resource to which Representationalists can appeal in addressing these challenges: the low-detail fringe of visual experience. I argue (...) that low-detail contents within visual experience provide the mind with a rich access to additional high-detail information, an access that is not found in conscious thought. This access, in turn, speaks to the challenges raised by the Scene-Immediacy of visual experience. Robert Schroer is an Assistant Professor at the University of Minnesota at Duluth. (shrink)

This paper argues that various phenomenological considerations support a non-representational causal account of visual experience. This position claims that visual experiences serve as a non-representational causally efficacious medium for the production of beliefs concerning the external world. The arguments are centered on defending a non-representational causal account’s understanding of the cognitive significance of visual experience. Among other things, such an account can easily explain the inextricable role that background beliefs and conceptual capacities play in perceptually-based external world (...) belief-formation processes, the fact that visual mental states constrain beliefs because of their presentational phenomenology, and the phenomenon known as the transparency of visual experience. (shrink)