Pupillary responses and associated vergence eye movements were monitored during imagery of objects of differing sizes (“large” or “small”) from varying distances (“near” or “far”). Objects’ imagined size and distance affected oculomotor behavior. Objects visualized as “far” resulted in the larger pupil dilations and smaller visual angle, while small objects imagined “near” were associated with smaller pupils in contrast to relatively larger pupils when imagined as “far” away. Furthermore, near objects resulted in larger visual angle, and particularly, vergence adjustments were (...) observed that were dependent on imagined size and distance of the small objects. The findings are consistent with the idea that imagery emulates perception, also at the embodied level of oculomotor behaviors. (shrink)

The distinction between perception and cognition has always had a firm footing in both cognitive science and folk psychology. However, there is little agreement as to how the distinction should be drawn. In fact, a number of theorists have recently argued that, given the ubiquity of top-down influences, we should jettison the distinction altogether. I reject this approach, and defend a pluralist account of the distinction. At the heart of my account is the claim that each legitimate way of marking (...) a border between perception and cognition deploys a notion I call ‘stimulus-control.’ Thus, rather than being a grab bag of unrelated kinds, the various categories of the perceptual are unified into a superordinate natural kind. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)