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)

The dual stream model of the human and non-human primate visual systems remains Leslie Ungerleider's (1946-2020) most indelible contribution to visual neuroscience. In this model, a dorsal "where" stream specialized for visuospatial representation extends through occipitoparietal cortex, whereas a ventral "what" stream specialized for representing object qualities extends through occipitotemporal cortex. Over time, this model underwent a number of revisions and expansions. In one of her last scientific contributions, Leslie proposed a third visual stream specialized for representing (...) dynamic signals related to social perception. This alteration invites the question: What is a visual stream, and how are different visual streams individuated? In this article, we first consider and reject a simple answer to this question based on a common idealizing visualization of the model, which conflicts with the complexities of the visual system that the model was intended to capture. Next, we propose a taxonomic answer that takes inspiration from the philosophy of science and Leslie's body of work, which distinguishes between neural mechanisms, pathways, and streams. In this taxonomy, visual streams are superordinate to pathways and mechanisms and provide individuation conditions for determining whether collections of cortical connections delineate different visual streams. Given this characterization, we suggest that the proposed third visual stream does not yet meet these conditions, although the tripartite model still suggests important revisions to how we think about the organization of the human and non-human primate visual systems. (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)

The way in which vision represents objects as being the same despite movement and qualitative changes has been extensively investigated in contemporary psychology. However, the formal properties of the visual sameness relation are still unclear, for example, whether it is an identity-like, equivalence relation. The paper concerns one aspect of this problem: the transitivity of visual sameness. Results obtained by using different experimental paradigms are analysed, in particular studies using streaming/bouncing stimuli, multiple object tracking experiments and investigations concerning (...) object-specific preview benefit, and it is argued that the transitive interpretation of visual sameness is the most plausible given the current stage of knowledge. What is more, it is claimed that the way in which visual sameness is represented suggests that in some cases it should be characterized as a “primitive sameness”, similarly as in philosophical theories postulating “thisness”. (shrink)

Notions of objecthood have traditionally been cast in visuocentric terminology. As a result, theories of auditory and cross-modal perception have focused more on the differences between modalities than on the similarities. In this paper we re-examine the concept of an object in a way that overcomes the limitations of the traditional perspective. We propose a new, cross-modal conception of objecthood which focuses on the similarities between modalities instead of the differences. Further, we propose that the auditory system might consist of (...) two parallel streams of processing (the `what' and `where' subsystems) in a manner analogous to current conceptions of the visual system. We suggest that the `what' subsystems in each modality are concerned with objecthood. Finally, we present evidence for—and elaborate on—the hypothesis that the auditory `where' subsystem is in the service of the visual-motor `where' subsystem. (shrink)

When a piece of fruit is in a bowl, and the bowl is on a table, we appreciate not only the individual objects and their features, but also the relations containment and support, which abstract away from the particular objects involved. Independent representation of roles (e.g., containers vs. supporters) and “fillers” of those roles (e.g., bowls vs. cups, tables vs. chairs) is a core principle of language and higherlevel reasoning. But does such role-filler independence also arise in automatic visual (...) processing? Here, we show that it does, by exploring a surprising error that such independence can produce. In four experiments, participants saw a stream of images containing different objects arranged in forcedynamic relations — e.g., a phone contained in a basket, a marker resting on a garbage can, or a knife sitting in a cup. Participants had to respond to a single target image (e.g., a phone in a basket) within a stream of distractors presented under time constraints. Surprisingly, even though participants completed this task quickly and accurately, they false-alarmed more often to images matching the target’s relational category than to those that did not — even when those images involved completely different objects. In other words, participants searching for a phone in a basket were more likely to mistakenly respond to a knife in a cup than to a marker on a garbage can. Follow-up experiments ruled out strategic responses and also controlled for various confounding image features. We suggest that visual processing represents relations abstractly, in ways that separate roles from fillers. (shrink)

David Milner and Melvyn Goodale’s dissociation hypothesis is commonly taken to state that there are two functionally specialized cortical streams of visual processing originating in striate (V1) cortex: a dorsal, action-related “unconscious” stream and a ventral, perception-related “conscious” stream. As Milner and Goodale acknowledge, findings from blindsight studies suggest a more sophisticated picture that replaces the distinction between unconscious vision for action and conscious vision for perception with a tripartite division between unconscious vision for action, conscious vision for (...) perception, and unconscious vision for perception. The combination excluded by the tripartite division is the possibility of conscious vision for action. But are there good grounds for concluding that there is no conscious vision for action? There is now overwhelming evidence that illusions and perceived size can have a significant effect on action (Bruno & Franz, 2009; Dassonville & Bala, 2004; Franz & Gegenfurtner, 2008; McIntosh & Lashley, 2008). There is also suggestive evidence that any sophisticated visual behavior requires collaboration between the two visual streams at every stage of the process (Schenk & McIntosh, 2010). I nonetheless want to make a case for the tripartite division between unconscious vision for action, conscious vision for perception, and unconscious vision for perception. My aim here is not to refute the evidence showing that conscious vision can affect action but rather to argue (a) that we cannot gain cognitive access to action-guiding dorsal stream representations, and (b) that these representations do not correlate with phenomenal consciousness. This vindicates the semi-conservative view that the dissociation hypothesis is best understood as a tripartite division. (shrink)

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

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

In response to Mole 2009, I present an argument for zombie action. The crucial question is not whether but rather to what extent we are zombie agents. I argue that current evidence supports only minimal zombie agency.

It is natural to assume that the fine-grained and highly accurate spatial information present in visual experience is often used to guide our bodily actions. Yet this assumption has been challenged by proponents of the Two Visual Systems Hypothesis , according to which visuomotor programming is the responsibility of a “zombie” processing stream whose sources of bottom-up spatial information are entirely non-conscious . In many formulations of TVSH, the role of conscious vision in action is limited to “recognizing (...) objects, selecting targets for action, and determining what kinds of action, broadly speaking, to perform” . Our aim in this study is to show that the available evidence not only fails to support this dichotomous view but actually reveals a significant role for conscious vision in motor programming, especially for actions that require deliberate attention. (shrink)

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

Blindsight and vision for action seem to be exemplars of unconscious visual processes. However, researchers have recently argued that blindsight is not really a kind of uncon- scious vision but is rather severely degraded conscious vision. Morten Overgaard and col- leagues have recently developed new methods for measuring the visibility of visual stimuli. Studies using these methods show that reported clarity of visual stimuli correlates with accuracy in both normal individuals and blindsight patients. Vision for action has (...) also come under scrutiny. Recent findings seem to show that information processed by the dor- sal stream for online action contributes to visual awareness. Some interpret these results as showing that some dorsal stream processes are conscious visual processes (e.g., Gallese, 2007; Jacob & Jeannerod, 2003). The aim of this paper is to provide new support for the more traditional view that blindsight and vision for action are genuinely unconscious per- ceptual processes. I argue that individuals with blindsight do not have access to the kind of purely qualitative color and size information which normal individuals do. So, even though people with blindsight have a kind of cognitive consciousness, visual information process- ing in blindsight patients is not associated with a distinctly visual phenomenology. I argue further that while dorsal stream processing seems to contribute to visual awareness, only information processed by the early dorsal stream (V1, V2, and V3) is broadcast to working memory. Information processed by later parts of the dorsal stream (the parietal lobe) never reaches working memory and hence does not correlate with phenomenal awareness. I con- clude that both blindsight and vision for action are genuinely unconscious visual processes. (shrink)

According to Milner and Goodale’s dual visual systems (DVS) theory, a division obtains between visual consciousness and motor action, in that the visual system producing conscious vision (the ventral stream) is distinct from the one guiding action (the dorsal stream). That there would be this division is often taken (by Andy Clark and others) to undermine the folk view on how consciousness and action relate. However, even if this division obtains, this leaves open the possibility that con- (...) scious ventral information is often transmitted to the uncon- scious dorsal stream and then used to guide action, a possibility seeming to preserve a significant role for consciousness in action. This article assesses this possibility. In course of doing so, we will review those arguments recently having been made against the DVS view on how visual consciousness and action relate (ones due to, e.g., Briscoe and Schwenkler, or Schenk and McIntosh). What we will find is that, if we properly analyze the data upon which these arguments are based, we are still left with the impression that the DVS view is largely correct; i.e., it is only rarely that visual experience guides action. (shrink)

Empirical work and philosophical analysis have led to widespread acceptance that vision for action, served by the cortical dorsal stream, is unconscious. I argue that the empirical argument for this claim is unsound. That argument relies on subjects’ introspective reports. Yet on biological grounds, in light of the theory of primate cortical vision, introspection has no access to dorsal stream mediated visual states. It is thus wrongly assumed that introspective reports speak to absent phenomenology in the dorsal stream. In (...) light of this, I consider a different conception of consciousness’s relation to agency in terms of access. While theoretical reasons suggest that the inaccessibility of the dorsal stream to conceptual report is evidence that it is unconscious, this position begs important questions. I propose a broader notion of access in respect of the guidance of intentional agency and not, narrowly, conceptual report (Note: this paper contradicts my earlier paper, "The Case for Zombie Agency"). (shrink)

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

Let a "smooth experience" be an experience with perfectly gradual changes in phenomenal character. Consider, as examples, your visual experience of a blue sky or your auditory experience of a rising pitch. Do the phenomenal characters of smooth experiences have continuous or discrete structures? If we appeal merely to introspection, then it may seem that we should think that smooth experiences are continuous. This paper (1) uses formal tools to clarify what it means to say that an experience is (...) continuous or discrete, and (2) develops a discrete model of the phenomenal characters of smooth experiences. As a result, I'll argue that introspection leaves open whether smooth experiences are continuous or discrete. Yet I’ll also argue—perhaps surprisingly—that the discrete theory may better fit our introspective evidence. Along the way, I explain why the sense of ‘continuity’ ascribed to smooth experiences is distinct from the sense of ‘continuity’ ascribed to the stream of consciousness. (shrink)

Can past agents deliberately influence our historical awareness by designing objects’ appearances and sending them to us down the stream of time? We know they have certainly tried to do so by raising monuments. But according to an influential narrative, the efforts of these "monumentalists" are destined to fail: no monument can keep a legacy alive in perpetuity. In this article, I argue that this narrative misrepresents the nature of the monumentalists’ mission, and I set out to show that monumentality (...) should be understood as a means of addressing what I term “art-historical awareness.” This mode of historical awareness attends to artifacts’ appearances in search of visual manifestations of relevance that can survive the loss of context. Those who raise monuments aim to produce such artifacts, or what amount to intentional art-historical documents, and they do so in order to overcome the tension between the monuments’ nature as public art and their commemorative function. By visually manifesting a transcendent relevance, monuments ideally appeal to both present and distant audiences, insofar as these audiences are able to appreciate the monuments’ potential to sustain at least a semblance of relevance beyond their immediate contexts. (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)

The aim of this paper is to demonstrate the applicability of multivariate mapping techniques to the exploration of the rhetorical semiotic brand image structure of ad films. By drawing on correspondence analysis and multidimensional scaling, two techniques that are amply used in corpus linguistics and in marketing research, but also on the data reduction technique of factor analysis, it will be displayed how a set of nuclear semes and classemes or an intended semic structure that underlies ad filmic discursive structures (...) may be projected alongside rhetorical figures by its internal stakeholders (i.e., a brand management team, an account planning team or a marketing research team) with view to attaining differential brand associations. The illustration of the exploratory analytical methods takes place by recourse to a corpus of 62 ad filmic texts from 13 sub-brands of the 3 major brands in the UK cereals market and 321 ad filmic segments that resulted from the segmentation procedure. This paper seeks to contribute to advancements in the brand image and advertising rhetoric research streams by addressing distinctive modes of advertising rhetorical configuration at the level of the ad filmic text (as against print ads where the bulk of research on advertising rhetoric has concentrated), and moreover on a segment-by-segment level, rather than treating the ad film as a standalone unit of analysis, by adopting a multimodal outlook to advertising configurations that takes into account not only the verbal or the visual mode, but also interactions among modes, by adopting a product category-specific approach to advertising/brand textuality that draws on rhetorical semiotics and by employing exploratory statistical methods against the background of content analytic output. (shrink)

ABSTRACT -/- One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice. The dying out of philosophy is not only cased by external social and cultural factors, but also by (...) internal factors such as its methods and those concerning its subject-matter. I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with. All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias. (shrink)

Individuals tend to make judgments or choices conditionally regarding outcomes that occur at different times, and this leads to intertemporal decision-making. While individual intertemporal decision-making was widely investigated, the trend to study group intertemporal decision-making seems to be down-streamed. -/- Lack of evidence in the group intertemporal decision-making process has led a group of Chinese researchers to conduct a short review in this area and eventually suggest adopting a “two-process” approach to study the mechanism of group intertemporal decision-making. The approach (...) employs self-assessment questionnaires, audiovisual recordings, and visual decision-making tools for quantifying the interpersonal interaction processes and information processing in the settings of group intertemporal decision-making. Using this approach, the differences between individual and group intertemporal decision-making mechanisms, in terms of psychological and theoretical mechanisms, may be better distinguished and explained. (shrink)

Given the hard problem of consciousness, there are no brain electrophysiological correlates of the subjective experience (the felt quality of redness or the redness of red, the experience of dark and light, the quality of depth in a visual field, the sound of a clarinet, the smell of mothball, bodily sensations from pains to orgasms, mental images that are conjured up internally, the felt quality of emotion, the experience of a stream of conscious thought, or the phenomenology of thought). (...) However, there are occipital and left temporal brain electrophysiological correlates of the subjective experience. Notwithstanding, as an evoked signal, the change in event-related brain potential phase (frequency is the change in phase over time) is instantaneous, that is, the frequency will transiently be infinite: a transient peak in frequency (positive or negative), if any, is instantaneous in electroencephalogram averaging or filtering that the event-related brain potentials required and the underlying structure of the event-related brain potentials in the frequency domain cannot be accounted for, for example, by the Wavelet Transform or the Fast Fourier Transform analysis, because they require that frequency be derived by convolution rather than by differentiation. However, as I show, one suitable method for analysing the instantaneous change in event-related brain potential phase and accounting for a transient peak in frequency (positive or negative), if any, in the underlying structure of the event-related brain potentials is the Empirical Mode Decomposition with post-processing Ensemble Empirical Mode Decomposition. (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)

La, V. P., & Vuong, Q. H. (2019). bayesvl: Visually learning the graphical structure of Bayesian networks and performing MCMC with ‘Stan’. The Comprehensive R Archive Network (CRAN).

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)

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)

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

(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)

Williamson’s “anti-luminosity” argument aims to establish that there are no significant luminous conditions. “Far from forming a cognitive home”, luminous conditions are mere “curiosities”. Even supposing Williamson’s argument succeeds in showing that there are no significant luminous states his conclusion has not thereby been established. When it comes to determining what is luminous, mental events and processes are among the best candidates. It is events and processes, after all, which constitute the stream of consciousness. Judgment, for instance, is plausibly self-conscious. (...) If I am judging then plausibly I must know that I am. Similarly, deliberation is plausibly self-conscious. To be deliberating about some matter I plausibly must know that I am. That one is judging and that one is deliberating are thus plausibly luminous conditions. Furthermore, I argue, Williamson’s anti-luminosity argument fails to speak against this suggestion. This reveals that Williamson’s argument is more limited in scope than has been thought—something likely missed due to a misplaced focus on mental states in the luminosity debate as well as in epistemology and the philosophy of mind more generally. For all Williamson shows, there may be luminous events and processes of a sort apt to constitute a cognitive home. I conclude by considering how the anti-luminosity argument might be reinstated in the judgment case and argue that the natural way to do so fails. (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.

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)

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)

Many of Margaret Cavendish’s criticisms of Thomas Hobbes in the Philosophical Letters (1664) relate to the disorder and damage that she holds would result if Hobbesian pressure were the cause of visual perception. In this paper, I argue that her “two men” thought experiment in Letter IV is aimed at a different goal: to show the explanatory potency of her account. First, I connect Cavendish’s view of visual perception as “patterning” to the “two men” thought experiment in Letter (...) IV. Second, I provide a potential reply on Hobbes’s behalf that appeals to physiological differences between perceivers’ sense organs, drawing upon Hobbes’s optics in De homine. Third, I argue that such a reply would misunderstand Cavendish’s objective of showing the limited explanatory resources available in understanding visual perception as pressing when compared to her view of visual perception as patterning. (shrink)

Much attention has recently been paid to the idea, which I label ‘External World Acquaintance’ (EWA), that the phenomenal character of perceptual experience is partially constituted by external features. One motivation for EWA which has received relatively little discussion is its alleged ability to help deal with the ‘Explanatory Gap’ (e.g. Fish 2008, 2009, Langsam 2011, Allen 2016). I provide a reformulation of this general line of thought, which makes clearer how and when EWA could help to explain the specific (...) phenomenal nature of visual experience. In particular, I argue that by focusing on the different kinds of perceptual actions that are available in the case of visual spatial vs. colour perception, we get a natural explanation for why we should expect the specific nature of colour phenomenology to remain less readily intelligible than the specific nature of visual spatial phenomenology. (shrink)

It has often been assumed that when we use vision to become aware of an object or event in our surroundings, this must be accompanied by a corresponding visual experience (i.e., seeing). The studies reported here show that this assumption is incorrect. When observers view a sequence of displays alternating between an image of a scene and the same image changed in some way, they often feel (or sense) the change even though they have no visual experience of (...) it. The subjective difference between sensing and seeing is mirrored in several behavioral differences, suggesting that these are two distinct modes of conscious visual perception. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various (...) kinds of metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (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.

Selective access and integration underlie much of our visual experience. This article describes several of the experimental techniques used to investigate these processes, and some of the major results achieved in our understanding of their operation.

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

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

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference (...) from style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

A set of visual search experiments tested the proposal that focused attention is needed to detect change. Displays were arrays of rectangles, with the target being the item that continually changed its orientation or contrast polarity. Five aspects of performance were examined: linearity of response, processing time, capacity, selectivity, and memory trace. Detection of change was found to be a self-terminating process requiring a time that increased linearly with the number of items in the display. Capacity for orientation was (...) found to be about 5 items, a value comparable to estimates of attentional capacity. Observers were able to filter out both static and dynamic variations in irrelevant properties. Analysis also indicated a memory for previously-attended locations. These results support the hypothesis that the process needed to detect change is much the same as the attentional process needed to detect complex static patterns. Interestingly, the features of orientation and polarity were found to be handled in somewhat different ways. Taken together, these results not only provide evidence that focused attention is needed to see change, but also show that change detection itself can provide new insights into the nature of attentional processing. (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)

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)

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 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)

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)

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

Anosognosia for visual deficits—cases where significant visual deficits go unnoticed—challenges the view that our own conscious experiences are what we know best. We review these widespread and striking failures of awareness. Anosognosia can occur with total blindness, visual abnormalities induced by brain lesions, and eye diseases. We show that anosognosia for visual deficits is surprisingly widespread. Building on previous accounts, we introduce a framework showing how apparently disparate forms of anosognosia fit together. The central idea is (...) that, to notice a deficit, individuals need to form expectations about normal vision, compare expectations and visual input, and judge any mismatch at the metacognitive level. A failure in any of these three steps may lead to unawareness of visual deficits. (shrink)