Summary Based on Clausius’ phrasing of a “transformational content” and the resulting 2nd law of thermodynamics, I demonstrated that Gilbert Simondon’s On the Mode of Existence of Technical Objects is historically situated at the threshold of understanding open systems thermodynamics and the related concepts of balance. Furthermore, I showed that Gestalt theory, as represented by Wolfgang Köhler, at least reproduced, if not partially anticipated or even prepared this development of 20th century thinking. Finally, I gave some short examples of how (...) Simondon applied the figure/ground distinction to human perception, memory, and a general theory of becoming and I introduced his proposal to analyse “the grounds” just as thoroughly as the laws of figuration. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The (...) human brain has an astonishing capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground (...) organization has remained unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

Although symmetry has been discussed in terms of a major law of perceptual organization since the early conceptual efforts of the Gestalt school (Wertheimer, Metzger, Koffka and others), the first quantitative measurements testing for effects of symmetry on processes of Gestalt formation have seen the day only recently. In this study, a psychophysical rating study and a “foreground”-“background” choice response time experiment were run with human observers to test for effects of bilateral symmetry on the perceived strength of figure- (...) class='Hi'>ground in triangular Kanizsa configurations. Displays with and without bilateral symmetry, identical physically-specified-to-total contour ratio, and constant local contrast intensity within and across conditions, but variable local contrast polarity and variable orientation in the plane, were presented in a random order to human observers. Configurations with bilateral symmetry produced significantly stronger figure-ground percepts reflected by greater subjective magnitudes and consistently higher percentages of “foreground” judgments accompanied by significantly shorter response times. These effects of symmetry depend neither on the orientation of the axis of symmetry, nor on the contrast polarity of the physical inducers. It is concluded that bilateral symmetry, irrespective of orientation, significantly contributes to the, largely sign-invariant, visual mechanisms of figure-ground segregation that determine the salience of figure-ground in perceptually ambiguous configurations. (shrink)

We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify (...) class='Hi'>figure-ground segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

This paper presents a theory of how perception provides a basis for moral knowledge. To do this, the paper sketches a theory of perception, explores the sense in which moral perception may deserve that name, and explains how certain moral properties may be perceptible. It does not presuppose a causal account of moral properties. If, however, they are not causal, how can we perceive, say, injustice? Can it be observable even if injustice is not a causal property? (...) The paper answers these and other questions by developing an account of how moral properties, even if not causal, can figure in perception in a way that grounds moral knowledge. (shrink)

Humans and other animals perceive with many different sensory modalities, includ- ing olfaction, touch, audition, vision, echolocation, proprioception, gustation, and some other senses, depending on different criteria and definitions. Given its broad range, it is not possible to give a comprehensive overview of all of the philosophi- cal, psychological, and neuroscientific studies about perception in one chapter, so what will be offered here is quite selective. In the introduction, we will discuss basic concepts such as figure-ground segregation (...) and scene analysis. Section 1.1 provides a historical overview of psychological theories of perception since the late 19th century. Section 1.2 discusses the information-processing approach and hierarchical explanations, while section 1.3 looks into the historical development of philosophical studies of perception. Sections 2.1–2.3 introduce contemporary issues, and 3.1–3.3 provide future directions. (shrink)

There are few articles in science that remain relevant over a span of 100 years; Max Wertheimer's pioneering experimental studies on apparent motion and figural organization are notable exceptions. Wertheimer's 1912 account of motion perception started a revolution and established the Gestalt school of psychology. It also paved the way for further investigations of apparent motion perception, including subsequent research by Oliver Braddick, Stuart Anstis, Vilaynur Ramachandran, and others. Wertheimer's 1923 article on figural organization helped define grouping as (...) a principle of figure-ground perception. This book provides contemporary readers and researchers with Wertheimer's two pivotal articles, newly translated into English and each accompanied by a synopsis, and two essays on apparent motion and figural organization that describe the long-term impact of Wertheimer's work. The translation of the original German into readable English prose allows English-language readers for the first time to appreciate Wertheimer's visionary ideas. The accompanying essays tie Wertheimer's phenomenological descriptions to the underlying neuronal mechanisms, bridging the years between the articles' first publication and modern research. (shrink)

Among the possible ways of gaining moral knowledge, moral perception figures as a controversial yet fruitful option. If moral perception is possible, moral disagreement is addressed not by appealing to principles but to the process and the objects of perception, and moral progress occurs not through deliberation but by refining one’s perceptual faculties. The possibility of “seeing clearly and justly” is at the heart of Iris Murdoch’s thought, but Murdoch herself does not put forth a systematic argument (...) for this view. In this paper I propose an argument for moral perception based on Murdoch’s philosophy, while engaging with contemporary debates in moral perception. The key idea I take from Murdoch is that perception is conceptually laden, where concepts are understood as ways of grasping the world according to human concerns. Murdoch’s position enables us to solve a difficult tension: explaining the motivating force of perception while maintaining objectivity in ethics. This view of moral perception also constitutes a radical position in the debate, where even the most optimistic defenses appeal to the supervenience of values on facts. If Murdoch is right, however, we perceive complex properties, including values, directly, so that appeal to supervenience becomes unnecessary and some of the grounds for the very distinction between fact and value are put into question. (shrink)

We present an investigation into the relation between design principles in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure- (...) class='Hi'>ground segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal comparison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

Zeki and co-workers recently proposed that perception can best be described as locally distributed, asynchronous processes that each create a kind of microconsciousness, which condense into an experienced percept. The present article is aimed at extending this theory to metacognitive feelings. We present evidence that perceptual fluency—the subjective feeling of ease during perceptual processing—is based on speed of processing at different stages of the perceptual process. Specifically, detection of briefly presented stimuli was influenced by figure-ground contrast, but (...) not by symmetry or the font of the stimuli. Conversely, discrimination of these stimuli was influenced by whether they were symmetric and by the font they were presented in , but not by figure-ground contrast. Both tasks however were related with the subjective experience of fluency . We conclude that subjective fluency is the conscious phenomenal correlate of different processing stages in visual perception. (shrink)

I ask whether figure-ground structure can be realized in touch, and, if so, how. Drawing on the taxonomy of touch sketched in Katz's 1925 The World of Touch, I argue that the form of touch that is relevant to such consideration is a species of immersed touch. I consider whether we can feel the space we are immersed in and, more specifically, the empty space against which the surfaces of objects, as I shall urge, “stand out.” Harnessing M. (...) G. F. Martin's account of bodily awareness and touch, I defend a positive thesis, pace Graham Nerlich on whose The Shape of Space I otherwise rely, both to defend the supposition that empty space can in principle be felt and to argue that touching empty space is not a mere species of absence perception. Along the way, I defuse a causal worry that might be thought to arise in the case of touching empty space. (shrink)

The chapter unfolds in the following sections. The first section exam- ines the reasons for claiming that olfactory perception is spatially unstruc- tured and our experience of smells has an abstract structure. The second section elucidates the further arguments that olfaction cannot generate figure-ground segregation. The third section assesses the conclusion that olfactory perception and experience cannot solve the MPP. Following the overview of the many problems inherent to distal olfactory percep- tion, MST will be introduced (...) as an alternative perspective that allows for figure-ground segregation and perceiving multiple olfactory objects within an array. The chapter then concludes by replying to the shared argument that olfactory distal perception does not have the requisite res- olution to resolve the many properties problem. (shrink)

I recently discovered that work I was doing in the laboratory and in theoretical writings was implicitly taking a position on a set of questions that philosophers had been worrying about for much of the past 30 or more years. My clandestine involvement in philosophical issues began when a computer science colleague and I were trying to build a model of geometrical reasoning that would draw a diagram and notice things in the diagram as it drew it (Pylyshyn, Elcock, Marmor, (...) & Sander, 1978). One problem we found we had to face was that if the system discovered a right angle it had no way to tell whether this was the intersection of certain lines it had drawn earlier while constructing a certain figure, and if so which particular lines they were. Moreover, the model had no way of telling whether this particular right angle was identical to some bit of drawing it had earlier encountered and represented as, say, the base of a particular triangle. There was, in other words, no way to determined the identity of an element (I use the term “element” when referring to a graphical unit such as used in experiments. Otherwise when speaking informally I use the term “thing” on the grounds that nobody would mistake that term for a technical theoretical construct. Eventually I end up calling them “Visual Objects” to conform to usage in psychology) at two different times if it was represented differently at those times. This led to some speculation about the need for what we called a “finger” that could be placed at a particular element of interest and that could be used to identify it as particular token thing (the way you might identify a particular feature on paper by labeling it). In general we needed something like a finger that would stay attached to a particular element and could be used to maintain a correspondence between the individual element that was just noticed now and one that had been represented in some fashion at an earlier time. The idea of such fingers (which.... (shrink)

Over a century’s worth of research suggests that “perception” without awareness is a genuine phenomenon. However, relatively little research has explored the question of whether all visually presented information activates representations in long term memory without awareness. Two experiments explored the use of a figure–ground display consisting of competing views in which one view dominates the other such that subjects are unaware of the non-dominant view. Neither experiment provided evidence that the non-dominant view activated its representation in (...) long term memory when the subject failed to report being aware of the embedded word in that priming was not seen on a subsequent stem completion task. In contrast, priming was seen when subjects reported being aware of the embedded word. It is suggested that two competing figure–ground relations are not concurrently computed unconsciously. (shrink)

This book presents the history of metaphysics through transcendental phenomenology and interpretations of Kant, Fichte, Cohen, Windelband, Rickert, Husserl, Scheler, and Heidegger. Slama introduces the "praxiologico-transcendental" figure where transcendental knowledge opens up a "praxiological" life of subjectivity for whom reality becomes a continual practical problem. In so doing, this book also establishes the principles of a "praxiological" thinking of perception, starting from the conceptuality of the “tool”, which is grounded in the praxiologico-transcendantal. Thus, the author presents and argues (...) for this unitary figure of transcendental philosophy as a crucial figure of metaphysics. This book appeals to students and researchers working in phenomenology and metaphysics. Ce livre propose une histoire de la métaphysique à partir de la figure de Kant, et avec la phénoménologie transcendantale comme centre. À partir d'une lecture précise d'auteurs centraux de la tradition transcendantale, il fait l'hypothèse d'une figure "praxiologico-transcendantale" où la connaissance transcendantale ouvre une vie "praxiologique" de la subjectivité, qui se trouve ainsi frottée au réel qui devient un incessant problème pratique pour lui. Ce faisant, ce livre établit les principes d'une pensée de la perception "praxiologique", à partir de la conceptualité de l' « outil ». Il s'agit in fine de donner une figure unitaire de la philosophie transcendantale dans son ensemble, comme moment crucial dans l'histoire de la métaphysique. (shrink)

Over a century’s worth of research suggests that “perception” without awareness is a genuine phenomenon. However, relatively little research has explored the question of whether all visually presented information activates representations in long term memory without awareness. Two experiments explored the use of a figure–ground display consisting of competing views in which one view dominates the other such that subjects are unaware of the non-dominant view. Neither experiment provided evidence that the non-dominant view activated its representation in (...) long term memory when the subject failed to report being aware of the embedded word in that priming was not seen on a subsequent stem completion task. In contrast, priming was seen when subjects reported being aware of the embedded word. It is suggested that two competing figure–ground relations are not concurrently computed unconsciously. (shrink)

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling of (...) existential tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

Figure-Ground Duality in Humour: A Multi-Modal Perspective Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; (...) indeed, the vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication—whether words, gestures or pictorial elements—with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Daemonic Figures: Shakespeare and the Question of ConscienceEric SpencerDaemonic Figures: Shakespeare and the Question of Conscience, by Ned Lukacher; x & 228 pp. Ithaca: Cornell University Press, 1994, $37.50 cloth, $15.95 paper.Daemonic Figures is a specialist’s book twice over. Profiting from it requires not only considerable familiarity with Heidegger, but also unquestioning acceptance of the rhetorical conventions and critical methods of contemporary theory. Lukacher uses these conventions and (...) methods to argue that conscience, properly understood, poses uncomfortable questions about the origins of self-knowledge, and leads to a mysterious but presumably enriching encounter with the limits of our certainty. Shakespeare enters the argument as the supreme example of a poet who discovers, through sensitivity to the ambiguities of language, how to peer without flinching into the Heideggerian abyss. Although the book relies too heavily on Heidegger’s unforgiving idiom, and pauses too seldom to justify suggestive but tenuous claims, at its heart lie hard, interesting questions about what having a conscience means.Lukacher wishes to restore to the idea of conscience all its paradoxical force. As a silent inner voice carrying a moral imperative from elsewhere, conscience immediately suggests an internally divided self. And although, according to Lukacher, Christian tradition locates the source of the imperative in God, and classical tradition in natural law, conscience remains irreducibly “uncanny,” because “the most intimate site of human habitation [i.e., the self] is also the strangest of places, for it is there that the (unfamiliar) god comes to presence through the language of moral judgment that tells us that we are and that because we are what we are we should act thus” (p. 7). For Lukacher, then, the question of conscience is the question of being, a question without an answer because it involves the unthinkable idea of something prior to and beyond being. The book argues that whatever speaks to us under the name of conscience must be both within and without any categories we have to explain it.Hence “daemonic figures”: drawing on the Greek notion of a realm of daimones dwelling between the human and divine worlds, Lukacher claims that the “daemon is the cipher, the name, and the figure for the incontrovertible [End Page 240] ghostliness, the familiar strangeness, that dwells between the perceptions and reflections of consciousness and the enigmatic ground of Being itself” (p. 2), or “the medium in which we come to ourselves as precisely that which is divided from itself... from the outset” (p. 6). And because, in Lukacher’s scheme, language articulates this daemonic mediation, we must seek in literary works which explore conscience—like Hamlet and Macbeth—traces of uncanniness welling up through ostensibly coherent words. Literary value accordingly involves “giving us the words with which to bring that enigmatic lack to presence” (p. 92). Simultaneously ubiquitous and inscrutable, conscience both calls to and evades us, and literature makes its home in such paradoxical territory.It follows that Lukacher seeks in texts brief flashes of something else in the midst of what’s apparently going on, a procedure which constantly risks arbitrary idiosyncrasy. For instance, in his chapter on Hamlet, Lukacher notes that the Player’s description of Priam’s death includes a line—“and with a hideous crash / Takes prisoner Pyrrhus’ ear”—whose sequence of sounds produces a ghostly authorial signature: sh... akes... Pyr... ear. And because this “countersignature” appears fragmented, in a context of hesitation, destruction and decline, Lukacher claims it creates an allegory of the “nonrelation at the heart of self-revelation” (p. 135). That is, it (and the larger drama of Hamlet’s revenge to which it obliquely gestures) reveals that at the heart of authorship, of authorized speech, of the moral law of conscience, lies “the silent play of the letter” (p. 135), the “daemonic figure” of dissolution in the midst of self-assertion, which unsettles all authorization. Hence Hamlet’s famous difficulties—he hears the whisper of Otherness in what ought to be a straightforward moral imperative to vengeance.Lukacher justifies this procedure by noting that “Derrida’s writing, no less than that of Heidegger [and presumably Shakespeare], relies on the invention of figures and metaphors through which... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:There's Nothing Wrong with Raw Perception:A Response to Chakrabarti's Attack on Nyāya's Nirvikalpaka PratyakṣaStephen H. PhillipsIn the lead article of the fiftieth anniversary issue of Philosophy East and West (January 2000), Arindam Chakrabarti elaborates seven reasons why Nyāya should jettison "indeterminate perception" and view all perception as determinate, that is to say, as having an entity (a) as qualified by a qualifier (F) as object (Fa). (...) In his notes, Chakrabarti invites a reply "so that," as he says, "I may know why immaculate perception is needed by Nyāya after all." The following is a response that shows not so much why indeterminate perception is needed by Nyāya but why it is identified as a causal factor necessary to the arising of some (not all) determinate perception defined as "perception of an entity as qualified." Here I follow Gaṅgeśa Upādhyāya, the fourteenth-century founder (with the help of a few less well known predecessors and contemporaries) of "New Logic," Navya Nyāya. Gaṅgeśa devotes an entire section (about one eighteenth) of the perception chapter of his monumental Tattvacintāmaṇi (Jewel of Reflection about Epistemology) to nirvikalpaka pratyaksṣa,1 and he is a chief target of Chakrabarti's chastisement.2Now, first of all, I want to follow Gaṅgeśa's ground rules. The Naiyāyika is not concerned with strategies about how to look good in debates (with Buddhists or anyone else). His attitude is truth-seeking, not eristic, and thus no reply will be given to Chakrabarti's agonizing about how best to show ourselves in controversies with (in particular, Buddhist) adversaries (and Wilfrid Sellars). Gaṅgeśa's reflections are vāda—and the section is rightly titled nirvikalpaka-vāda, vāda being "inquiries among friends"—directed to uncovering real causal factors, not to winning a debate or countering sophisms. Deception, or counter-deception, is sometimes appropriate—for instance, to protect a student or other judge from fallacies advanced by people of bad character. But not here. So I will lay out Gaṅgeśa's argument for identifying nirvikalpaka pratyaksṣa, and then run through Chakrabarti's list of reasons for rejecting it with an eye to the objection's salience to Gaṅgeśa's project. In other words, Chakrabarti's objections will be taken up with an eye to the truth as it appears to a Naiyāyika, not with an eye to how our team should best present itself to outsiders. I have little to say about Chakrabarti's complaints about appearances—in fact, I find them delightful. Don't let him fool you. There's no greater Naiyāyika enthusiast than Chakrabarti himself, and he knows how to distill a controversy to show the wisdom [End Page 104] of Nyāya in contrast to revealing a deficiency, as he appears to be doing here. He does this to make us think broadly about Nyāya in a contemporary context. And at the end I join him in making some very general comments about Nyāya's realism. First, Gaṅgeśa's argument and a rebuttal of Chakrabarti's seven reasons from Gaṅgeśa's point of view.There is no direct, apperceptive evidence for nirvikalpaka pratyaksṣa; rather, it is posited by force of the following inference as the first step of a two-step argument. "The perceptual cognition, 'A cow' (for example), is generated by a cognition of the qualifier, since it is a cognition of an entity as qualified (by that qualifier appearing), like an inference." The second step takes a person's first perception of an individual (Bessie, let us say) as a cow (i.e., as having some such property) as the perceptual cognition figuring as the inference's subject (or pakṣa) such that the cognizer's memory not informed by previous cow experience could not possibly provide the qualifier, cowhood. The qualifier has to be available, and the best candidate seems to be its perception in the raw, a qualifier (cowhood), that is to say, not (as some are wont to misinterpret the point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:There's Nothing Wrong with Raw Perception:A Response to Chakrabarti's Attack on Nyāya's Nirvikalpaka PratyakṣaStephen H. PhillipsIn the lead article of the fiftieth anniversary issue of Philosophy East and West (January 2000), Arindam Chakrabarti elaborates seven reasons why Nyāya should jettison "indeterminate perception" and view all perception as determinate, that is to say, as having an entity (a) as qualified by a qualifier (F) as object (Fa). (...) In his notes, Chakrabarti invites a reply "so that," as he says, "I may know why immaculate perception is needed by Nyāya after all." The following is a response that shows not so much why indeterminate perception is needed by Nyāya but why it is identified as a causal factor necessary to the arising of some (not all) determinate perception defined as "perception of an entity as qualified." Here I follow Gaṅgeśa Upādhyāya, the fourteenth-century founder (with the help of a few less well known predecessors and contemporaries) of "New Logic," Navya Nyāya. Gaṅgeśa devotes an entire section (about one eighteenth) of the perception chapter of his monumental Tattvacintāmaṇi (Jewel of Reflection about Epistemology) to nirvikalpaka pratyaksṣa,1 and he is a chief target of Chakrabarti's chastisement.2Now, first of all, I want to follow Gaṅgeśa's ground rules. The Naiyāyika is not concerned with strategies about how to look good in debates (with Buddhists or anyone else). His attitude is truth-seeking, not eristic, and thus no reply will be given to Chakrabarti's agonizing about how best to show ourselves in controversies with (in particular, Buddhist) adversaries (and Wilfrid Sellars). Gaṅgeśa's reflections are vāda—and the section is rightly titled nirvikalpaka-vāda, vāda being "inquiries among friends"—directed to uncovering real causal factors, not to winning a debate or countering sophisms. Deception, or counter-deception, is sometimes appropriate—for instance, to protect a student or other judge from fallacies advanced by people of bad character. But not here. So I will lay out Gaṅgeśa's argument for identifying nirvikalpaka pratyaksṣa, and then run through Chakrabarti's list of reasons for rejecting it with an eye to the objection's salience to Gaṅgeśa's project. In other words, Chakrabarti's objections will be taken up with an eye to the truth as it appears to a Naiyāyika, not with an eye to how our team should best present itself to outsiders. I have little to say about Chakrabarti's complaints about appearances—in fact, I find them delightful. Don't let him fool you. There's no greater Naiyāyika enthusiast than Chakrabarti himself, and he knows how to distill a controversy to show the wisdom [End Page 104] of Nyāya in contrast to revealing a deficiency, as he appears to be doing here. He does this to make us think broadly about Nyāya in a contemporary context. And at the end I join him in making some very general comments about Nyāya's realism. First, Gaṅgeśa's argument and a rebuttal of Chakrabarti's seven reasons from Gaṅgeśa's point of view.There is no direct, apperceptive evidence for nirvikalpaka pratyaksṣa; rather, it is posited by force of the following inference as the first step of a two-step argument. "The perceptual cognition, 'A cow' (for example), is generated by a cognition of the qualifier, since it is a cognition of an entity as qualified (by that qualifier appearing), like an inference." The second step takes a person's first perception of an individual (Bessie, let us say) as a cow (i.e., as having some such property) as the perceptual cognition figuring as the inference's subject (or pakṣa) such that the cognizer's memory not informed by previous cow experience could not possibly provide the qualifier, cowhood. The qualifier has to be available, and the best candidate seems to be its perception in the raw, a qualifier (cowhood), that is to say, not (as some are wont to misinterpret the point... (shrink)

Despite being one of the major figures in late medieval thought and being the subject of numerous studies, certain topics concerning the Cardinal Nicholas of Cusa remain in need of further investigation. One of these is an aspect of his theory of cognition: his account of sense perception. It is our aim in this study to systematically look at his scattered remarks on the topic and make a number of suggestions as to the nature of his thought on how (...) we come to know external things. It is not our purpose to offer a comprehensive account of his theory of cognition. Our focus in this article is on his account of perception and the specific claim that Nicholas develops a model whereby reason operates together with the senses in perceptual experience. Despite being tentative our claim is grounded on suggestions found in the scholarship on Cusanus; but these suggestions remain quite vague and in need of exploration. In this article, we closely examine the textual evidence and develop our claim based o... (shrink)

High figure-ground contrast usually results in more positive evaluations of visual stimuli. This may either reflect that high figure-ground contrast per se is a desirable attribute or that this attribute facilitates fluent processing. In the latter case, the influence of high figure-ground contrast should be most pronounced under short exposure times, that is, under conditions where the facilitative influence on perceptual fluency is most pronounced. Supporting this hypothesis, ratings of the prettiness of visual stimuli (...) increased with figure-ground contrast under short exposure times (.3, 1, and 3 seconds, respectively). This positive influence of figure-ground contrast was eliminated under an exposure time of 10 seconds. We conclude that stimuli with high figure-ground contrast are more appealing because they are easier to process, not because high figure-ground contrast per se is a desirable attribute. We discuss this finding in the context of William James? notion that the fringe of consciousness includes vague contextual feelings at the periphery of the focus of attention and suggest that perceptual fluency is one of these feelings. (shrink)

A fundamental fact about human minds is that they are never truly alone: all minds are steeped in situated interaction. That social interaction matters is recognized by any experimentalist who seeks to exclude its influence by studying individuals in isolation. On this view, interaction complicates cognition. Here, we explore the more radical stance that interaction co-constitutes cognition: that we benefit from looking beyond single minds toward cognition as a process involving interacting minds. All around the cognitive sciences, there are approaches (...) that put interaction center stage. Their diverse and pluralistic origins may obscure the fact that collectively, they harbor insights and methods that can respecify foundational assumptions and fuel novel interdisciplinary work. What might the cognitive sciences gain from stronger interactional foundations? This represents, we believe, one of the key questions for the future. Writing as a transdisciplinary collective assembled from across the classic cognitive science hexagon and beyond, we highlight the opportunity for a figure-ground reversal that puts interaction at the heart of cognition. The interactive stance is a way of seeing that deserves to be a key part of the conceptual toolkit of cognitive scientists. (shrink)

Victor Vasarely's (1906–1997) important legacy to the study of human perception is brought to the forefront and discussed. A large part of his impressive work conveys the appearance of striking three-dimensional shapes and structures in a large-scale pictorial plane. Current perception science explains such effects by invoking brain mechanisms for the processing of monocular (2D) depth cues. Here in this study, we illustrate and explain local effects of 2D color and contrast cues on the perceptual organization in terms (...) of figure-ground assignments, i.e. which local surfaces are likely to be seen as “nearer” or “bigger” in the image plane. Paired configurations are embedded in a larger, structurally ambivalent pictorial context inspired by some of Vasarely's creations. The figure-ground effects these configurations produce reveal a significant correlation between perceptual solutions for “nearer” and “bigger” when other geometric depth cues are missing. In consistency with previous findings on similar, albeit simpler visual displays, a specific color may compete with luminance contrast to resolve the planar ambiguity of a complex pattern context at a critical point in the hierarchical resolution of figure-ground uncertainty. The potential role of color temperature in this process is brought forward here. Vasarely intuitively understood and successfully exploited the subtle context effects accounted for in this paper, well before empirical investigation had set out to study and explain them in terms of information processing by the visual brain. (shrink)

Summary In 1915 the Danish psychologist Edgar Rubin describes in his famous work on figure-ground perception, the phenomenon that when you look attentively at a picture, a second, virtual ego arises, breaking away from the viewer-ego to wander around in the picture along the contours of the depicted. In 1982, German Gestalt psychologist Edwin Rausch expanded this observation of the emergence of a second phenomenal ego to the conclusion that not only does a second phenomenal ego emerge, (...) but with it a second phenomenal total field, ie a second phenomenal world with its own phenomenal ego and an own phenomenal environment of this ego. Several years ago, I proposed a multi-field-approach in psychotherapy building on this research. This approach involves three levels: First, the level of phenomenological observation and psychological analysis of the conditions that determine the formation of such a second total field (and even further total fields), regardless of whether this occurs spontaneously or intentionally or as a result of external influences. Second, the level of explanation of various psychic processes, which in the field of psychotherapy have been explained so far mainly on the basis of depth psychology, and the conceptualization of the therapeutic situation and therapeutic processes from a Gestalt psychological perspective. Third, finally, the level of practical application of such insights on the development of appropriate procedures and interventions that can promote or defer the emergence of such second or multiple fields in psychotherapy. The present article introduces the multi-field approach, especially at the first level, and refers to research and discussion on mind wandering, imagining, daydreaming and dissociation. (shrink)

We propose a new masking technique for masking word stimuli. Drawing on the phenomena of metacontrast and paracontrast, we alternately presented two prime displays of the same word with the background color in one display matching the font color in the other display and vice versa. The sequence of twenty alterations was sandwich-masked by structure masks. Using this masking technique, we conducted evaluative priming experiments with positive and negative target and prime words. Significant priming effects were found – for primes (...) and targets drawn from the same as well as from different word sets. Priming effects were independent of prime discrimination performance in direct tests and they were still significant after the sample was restricted to those participants who showed random responding in the direct test. (shrink)

The concept of simultaneous masking in visual field is discussed, in the light of classical examples, of the various kinds of the phenomenon, of a modal completion, of the figure/ground phenomenon, of ambiguous and reversible figures, of mimicry and camouflage and eventually of the complexity of the stimulus. There is some reference to masking in auditory field. The “reality” of the masked configuration is discussed, drawing the conclusion that it is perceptually unreal. The fact that the masking phenomenon (...) cannot take place without comparison between two perceptual acts – what we see at one moment and what we see a moment after LATER – and the fact that the masked configuration pops out with some surprise, lead to the conclusion that simultaneous masking in visual field is not a bare perceptual phenomenon, but a psychological process not unlike insight. (shrink)