In the visual representation of ontologies, in particular of part-whole relationships, it is customary to use graph theory as the representational background. We claim here that the standard graph-based approach has a number of limitations, and we propose instead a new representation of part-whole structures for ontologies, and describe the results of experiments designed to show the effectiveness of this new proposal especially as concerns reduction of visual complexity. The proposal is developed to serve visualization of (...) ontologies conformant to the Basic Formal Ontology. But it can be used also for more general applications, particularly in the biomedical domain. (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 paper examines visual representation from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. Suggests ways to clarify complex issues of representational ethics in marketing communications and marketing representations, suggesting an analysis that makes identity creation central to societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, drawing upon tourist promotions, advertisements, and mundane objects in material culture. Moreover, music is an important force in marketing communication: (...) class='Hi'>visual representations in music promotions are also explored as data for inquiry. Offers an alternative to phenomenologically based approaches in marketing and consumer research scholarship that use consumer responses to generate data. Contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation. (shrink)

This article explores how readers recognize their personal identities represented through data visualizations. The recognition is investigated starting from three definitions captured by the philosopher Paul Ricoeur: the identification with the visualization, the recognition of someone in the visualization, and the mutual recognition that happens between readers. Whereas these notions were initially applied to study the role of the book reader, two further concepts complete the shift to data visualization: the digital identity stays for the present-day passport of human actions (...) and the promise is the intimate reflection that projects readers towards their own future. This article reflects on the delicate meaning of digital identity and the way of representing it according to this structure: From Personal Identity to Media is a historical introduction to self-recognition, Data Visualization for Representing Identities moves the focus to visual representation, and The Course of Recognition breaks the self-recognition in through the five concepts above just before the Conclusion. (shrink)

In this paper, I characterize visual epistemic representations as concrete two- or three-dimensional tools for conveying information about aspects of their target systems or phenomena of interest. I outline two features of successful visual epistemic representation: that the vehicle of representation contain sufficiently accurate information about the phenomenon of interest for the user’s purpose, and that it convey this information to the user in a manner that makes it readily available to her. I argue that actual (...) epistemic representation may involve tradeoffs between these and is successful to the extent that they are present. (shrink)

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

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)

Five experiments investigated the role of spatial connectedness between a pair of objects presented in the change detection task for the actual capacity of visual working memory (VWM) in healthy young adults (total N = 405). Three experiments yielded a surprising nonlinear relationship between the proportion of pair-wise connected objects and capacity, with the highest capacity observed for homogenous displays, when either all objects were connected or disjointed. A drop in capacity, ranging from an average of a quarter of (...) an object out of three objects maintained in VWM, was noted when only some objects were connected while others were disjointed. As indicated by another two experiments, this effect was specific to double-feature encoding, but disappeared when single visual features had to be memorized. No existing theoretical model of VWM can directly explain this novel effect. Overall, the nonlinear effect of spatial connectedness implies that representations in VWM possess hierarchical structure defined by wholes, parts, features, and their relations, and the heterogeneity of such a structure hinders VWM performance, while homogeneity facilitates it. (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)

Advances in neuroscience implicate reentrant signaling as the predominant form of communication between brain areas. This principle was used in a series of masking experiments that defy explanation by feed-forward theories. The masking occurs when a brief display of target plus mask is continued with the mask alone. Two masking processes were found: an early process affected by physical factors such as adapting luminance and a later process affected by attentional factors such as set size. This later process is called (...) masking by object substitution, because it occurs whenever there is a mismatch between the reentrant visual representation and the ongoing lower level activity. Iterative reentrant processing was formalized in a computational model that provides an excellent fit to the data. The model provides a more comprehensive account of all forms of visual masking than do the long-held feed-forward views based on inhibitory contour interactions. (shrink)

Without doubt, there is a widespread usage of visualisations in science. However, what exactly the _epistemic status_ of these visual representations in science may be remains an open question. In the following, I will argue that at least some scientific visualisations are indispensible for our cognitive processes. My thesis will be that, with regard to the activity of _learning_, visual representations are of relevance in the sense of contributing to the aim of _scientific_ _understanding_. Taking into account that (...) understanding can be regarded as an epistemic desideratum in its own right, I will argue that, at least in some instances, no understanding can be achieved without the aid of visualisations. Consequently, they are of crucial importance in this process. Moreover, to support this thesis we will make use of some findings in educational psychology. (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)

According to the logical positivists, signs (words and pictures) of imaginary beings have no referent (Goodman). The semiotic theory behind this assumption is dualistic and Cartesian: signs vs. nonsigns as well as the mental vs. the material world are in fundamental opposition. Peirce’s semiotics is based on the premise of the sign as a mediator between such opposites: signs do not refer to referents, they represent objects to a mind, but the object of a sign can be existent or nonexistent, (...) a feeling or an idea, something merely imaginary or even something false. The paper examines the nature of imaginary, nonexistent, and nonfigurative objects, such as unicorns, phoenixes, or nonrepresentative paintings, and shows why verbal or visual representations of imaginary beings and even nonfigurative paintings, which seem to represent nothing, are fully developed signs with a variety of objects determining their representation. (shrink)

While the process of influence between various cultural and historical traditions in philosophy has been taking place for thousands of years, this inter-cultural interaction is occurring at a more accelerated pace in the information age. While philosophers throughout history have used visual representations to understand philosophical influence and historical origins and the distribution of philosophical ideas and sub-disciplines, this paper stresses the importance of philosophical visualizations to represent the global interactivity of philosophy. It provides various visualizations to represent global (...) philosophical interaction, the penetration of Western philosophical ideas into non-Western philosophical traditions, and the appropriation of non-Western traditions by Western philosophers. Such visualizations are important in the contemporary age to promote regional philosophies, to understand philosophical influence and to understand the promotion of a kind of pluralism which remains engaged with the global world. (shrink)

Quilty-Dunn et al.'s wide-ranging defense of the Language of Thought Hypothesis (LoTH) argues that vision traffics in abstract, structured representational formats. We agree: Vision, like language, is compositional – just as words compose into phrases, many visual representations contain discrete constituents that combine in systematic ways. Here, we amass evidence extending this proposal, and explore its implications for how vision interfaces with the rest of the mind.

This article probes the visual spatial représentations underlying the creative conceptual design of complex objects.

(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)

Perception is a central means by which we come to represent and be aware of particulars in the world. I argue that an adequate account of perception must distinguish between what one perceives and what one's perceptual experience is of or about. Through capacities for visual completion, one can be visually aware of particular parts of a scene that one nevertheless does not see. Seeing corresponds to a basic, but not exhaustive, way in which one can be visually aware (...) of an item. I discuss how the relation between seeing and visual awareness should be explicated within a representational account of the mind. Visual awareness of an item involves a primitive kind of reference: one is visually aware of an item when one's visual perceptual state succeeds in referring to that particular item and functions to represent it accurately. Seeing, by contrast, requires more than successful visual reference. Seeing depends additionally on meta-semantic facts about how visual reference happens to be fixed. The notions of seeing and of visual reference are both indispensable to an account of perception, but they are to be characterized at different levels of representational explanation. (shrink)

Many who suffer from eating disorders claim that they see themselves as “fat”. Despite decades of research into the phenomenon, behavioural evidence has failed to confirm that eating disorders involve visual misperception of own-body size. I illustrate the importance of this phenomenon for our understanding of perceptual processing, outline the challenges involved in experimentally confirming it, and provide solutions to those challenges.

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

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.

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

Visual experiences often feel crisper, sharper or more vivid when one pays attention to the seen object. According to some representationalist theories of perception, these felt effects occur because attentive experiences represent more determinate or precise properties than their inattentive counterparts: a color experience represents vermillion rather than red if the color is perceived with attention rather than without it. Recently, this idea has been expressed in terms of ranges of feature values represented, so that attentive experiences shall represent (...) narrower ranges than inattentive experiences. However, the latter claim seems to run counter to evidence, recently discussed by Block (2015), that neither spatial attention nor attention as deployed in the attentional blink paradigm alters the ranges of properties represented in visual perception. In this chapter, I clarify what these findings in fact tell us about the representational contents of visual perception and argue that they do not refute the representational account of the attentional effects. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far (...) too influential on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the (...) “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

This article examines the evolution of the concept of existence in modern visual representation and reasoning, highlighting important milestones. In the late eighteenth century, during the so-called golden age of visual reasoning, nominalism reigned supreme and there was limited scope for existential import or individuals in logic diagrams. By the late nineteenth century, a form of realism had taken hold, whose existential commitments continue to dominate many areas in logic and visual reasoning to this day. Physical, (...) metaphysical, epistemological, and linguistic positions underlie both nominalist and realist views. Since the paradigmatic works on visual reasoning in the 1990s, formal diagram systems have been developed that revive either the nominalist or realist perspectives. Unlike in the nineteenth century, these are not motivated by philosophical views. Nevertheless, they may still have an impact on many areas of philosophy and science outside logic. (shrink)

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

Classic change blindness is the phenomenon where seemingly obvious changes which coincide with visual disruptions (such as blinks or brief blanks) go unnoticed by an attentive observer. Some early work into the causes of classic change blindness suggested that any pre-change stimulus representation is overwritten by a representation of the altered post-change stimulus, preventing change detection. However, recent work revealed that even when observers do maintain memory representations of both the pre- and post-change stimulus states, they can (...) still miss the change, suggesting that change blindness can also arise from a failure to compare the stored representations. Here we study slow change blindness, a different but related phenomenon that occurs even in the absence of visual disruptions when the change occurs sufficiently slowly, to determine whether it could be explained by conclusions from classic change blindness. Across three different slow change blindness experiments we found that observers, who consistently failed to notice the change, had access to at least two memory representations of the changing display. One representation was precise but short-lived: a relatively detailed representation of the more recent states of slow-change display, but fragile. The other representation lasted longer but was fairly general: stable but too coarse to differentiate the various stages of the changing display. These findings suggest that although multiple representations are formed, the failure to compare hypothesis might not explain slow change blindness; even if a comparison were made, the representations formed would be either too sparse (longer term stores) or too fragile (short-lived stores) for such a comparison to be informative about a change. (shrink)

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

According to anti-atomism, we represent color properties (e.g., red) in virtue of representing color relations (e.g., redder than). I motivate anti-atomism with a puzzle involving a series of pairwise indistinguishable chips. I then develop two versions of anti-atomism.

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures (...) its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

This is a chapter from my introductory book *Perception* covering the representational view of experience. I use the Ramsey-Lewis method to define the theoretical term "experiential representation". I clarify and discuss various questions for representationalists, for instance, "how rich is the content of experience?" and "is the content of visual experience singular or general?" Finally, I address some objections to representationalism - in particular, that it cannot explain perceptual presence (John Campbell), and that it cannot explain the "laws (...) of appearance" (constraints on how things can appear). (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)

Our recent opinion article [1] examined what change blindness can and cannot tell us about visual representations. Among other things, we argued that change blindness can tell us a lot about how visual representations can be used, but little about their extent. We and others found the ‘sparse representations’ view appealing (and still do), and initially made the overly strong claim that change blindness supports the conclusion of sparse representations [2,3]. We wrote our article because change blindness continues (...) to be taken as evidence for sparse – or even absent – representations, and we used O’Regan and Noë’s influential paper [4] as an example. However, as has been noted for some time [5–8], this conclusion is logically flawed: lack of ability need not be caused by lack of representation. (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)

At the intersection of aesthetics and the philosophy of perception lies a problem about representational images. When you look at Vermeer's View of Delft, do you in fact get to see Delft? It would be nice if we could answer in the affirmative, as it would so neatly explain many of our practices in engaging with images. Be it in churches, advertising, or psychology labs, we typically use images as substitutes for the immediate perception of things. Here is what I (...) claim: Images make it possible to see the objects they represent, and they do so because they can function in vision as perceptual mediators. A perceptual mediator is an object of perception by means of which we can perceive something wholly distinct from it. I show that, while such perceptual mediators may be exceptional in vision, in other sensory modalities they occur universally. Our sensory lives would be impoverished without the possibility of perceiving things mediately. In Chapter 1 I identify a fundamental dispute about images. The dispute is about whether images represent by making absent scenes appear to a viewer, or by merely copying the way an object or event looks. Many philosophers favour the idea that images merely copy how things look. In Chapter 2 I explain my dissatisfaction with the copy view. I lay out my main positive proposal in Chapter 3. How does the idea that images make absent objects visible fit with our current concept of perception? I formulate my answer through a study of the other sensory modalities. In audition, it is no mystery that sounds can make other things heard. My arguments forge a connection between images and sounds that has not been explored in recent work on representation or perception. I show how it offers an attractive solution to our problem. In Chapter 4, I argue that moreover, we may regard mediate perception as a purely sensory mode of perception. There is no need to rely on non-sensory or quasi-sensory effects of thought or cognition. Instead, coming to see a painted surface as an image consists in no more than discovering a previously unseen aspect of our visible surroundings. In Chapter 5 I consider at a more general level how visual images contribute to visual perception. Overall, I establish how visual representation has a structural place in our visual world. (shrink)

I criticise a recent variety of argument for the representational theory of experience, which holds that the very idea of perceptual experience entails the representational view. I argue that the representational view is not simply obvious, nor is it contained in the mere idea of the world looking some way. I also clarify and re-present an argument against the representational view due to Charles Travis.

The task of visual search is to determine as rapidly as possible whether a target item is present or absent in a display. Rapidly detected items are thought to contain features that correspond to primitive elements in the human visual system. In previous theories, it has been assumed that visual search is based on simple two-dimensional features in the image. However, visual search also has access to another level of representation, one that describes properties in (...) the corresponding three-dimensional scene. Among these properties are three dimensionality and the direction of lighting, but not viewing direction. These findings imply that the parallel processes of early vision are much more sophisticated than previously assumed. (shrink)

This commentary critically examines the view of the relationship between perception and memory in Ned Block's *The Border Between Seeing and Thinking*. It argues that visual working memory often stores the outputs of perception without altering their formats, allowing online visual perception to access these memory representations in computations that unfold over longer timescales and across eye movements. Since Block concedes that visual working memory representations are not iconic, we should not think of perceptual representations as exclusively (...) iconic either. (shrink)

For almost half a century dual-stream advocates have vigorously defended the view that there are two functionally specialized cortical streams of visual processing originating in the primary visual cortex: a ventral, perception-related ‘conscious’ stream and a dorsal, action-related ‘unconscious’ stream. They furthermore maintain that the perceptual and memory systems in the ventral stream are relatively shielded from the action system in the dorsal stream. In recent years, this view has come under scrutiny. Evidence points to two overlapping action (...) pathways: a dorso-dorsal pathway that calculates features of the object to be acted on, and a ventro-dorsal pathway that transmits stored information about skilled object use from the ventral stream to the dorso-dorsal pathway. This evidence suggests that stored information may exert significantly more influence on visually guided action than hitherto assumed. I argue that this, in turn, supports the notion of skilled automatic action that is nonetheless agential. My focus here will be on actions influenced by implicit biases (stereotypes/prejudices). Action that is biased in this way, I argue, is in an important sense intentional and agential. (shrink)

This article argues that the Representation is drawn by the perceiver: that it does not arrive at the visual cortex fully-formed. Rather, colour arrives at the visual cortex and the Representation is drawn from that.

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with (...) industrial technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

I argue that there are no plausible non-representational explanations of episodes of hallucination. To make the discussion more specific, I focus on visual hallucinations in Charles Bonnet syndrome. I claim that the character of such hallucinatory experiences cannot be explained away non-representationally, for they cannot be taken as simple failures of cognizing or as failures of contact with external reality—such failures being the only genuinely non-representational explanations of hallucinations and cognitive errors in general. I briefly introduce a recent computational (...) model of hallucination, which relies on generative models in the brain, and argue that the model is a prime example of a representational explanation referring to representational mechanisms. The notion of the representational mechanism is elucidated, and it is argued that hallucinations—and other kinds of representations—cannot be exorcised from the cognitive sciences. (shrink)

According to the sensorimotor account, vision does not imply theconstruction of internally generated representations of the environment, butit isthe skillful exercise of the sensorimotor contingencies obeying sense-specific laws. In this short study, I focus on the notion of “sensorimotor law” and characterize the kind of explanation providedby the sensorimotor theory as a form of covering law model. I then question the nature of such sensorimotor laws and describe them as mechanisms. I show that a mechanistic interpretation provides a better account (...) of the sensorimotor invariances, which fosters us to rebalance the explanatory burden of sensorimotor action and information. Finally, I show that the question of the roleof representations within the sensorimotor theory should be reconsidered. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: the simultaneous (...) visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

Orthodox epistemological disjunctivism involves the idea that paradigm cases of visual perceptual knowledge are based on visual perceptual states which are propositional, and hence representational. Given this, the orthodox version of epistemological disjunctivism takes on controversial representational commitments in the philosophy of perception. Must epistemological disjunctivism involve these commitments? I don’t think so. Here I argue that we can take epistemological disjunctivism in a new direction and develop a version of the view free of these representational commitments. The (...) basic idea is that instead of conceiving of knowledge grounding perceptions as states in which one sees that such-and-such is the case, we should instead conceive of them as states or episodes in which one sees a thing, we should conceive of them as thing-seeings. I’ll suggest that we can cast such seeings in a knowledge grounding role without conceiving of them as representational. But this is because we can put thing-seeings to epistemological work, in the framework of epistemological disjunctivism, whilst remaining neutral on whether or not they are propositional, or representational at all. The point, then, is not to replace epistemological disjunctivism’s controversial representational commitments with controversial non-representational commitments. The point is, rather, that epistemological disjunctivism can be developed with fewer commitments in the philosophy of perception than is usually appreciated. (shrink)

Planar geometry was exploited for the computation of symmetric visual curves in the image plane, with consistent variations in local parameters such as sagitta, chordlength, and the curves’ height-to-width ratio, an indicator of the visual area covered by the curve, also called aspect ratio. Image representations of single curves (no local image context) were presented to human observers to measure their visual sensation of curvature magnitude elicited by a given curve. Nonlinear regression analysis was performed on both (...) the individual and the average data using two types of model: (1) a power function where. (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)