Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The (...) view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's “Sons of Sissy,” we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research. (shrink)

In a recent response paper to Brogaard (2011a), Morten Overgaard and Thor Grünbaum argue that my case for the claim that blindsight subjects are not visually conscious of the stimuli they correctly identify rests on a mistaken necessary criterion for determining whether a conscious experience is visual or non-visual. Here I elaborate on the earlier argu- ment while conceding that the question of whether blindsight subjects are visually con- scious of the visual stimuli they correctly identify largely (...) is an empirical question. I conclude by sketching a method for testing whether blindsight subjects have visual con- sciousness of stimuli presented to them in their blind field. (shrink)

This is an anthology of new papers by top researchers in epistemology and philosophy of mind focused on the epistemology of non-visual perception. The focus of the volume is to highlight the many different domains in which non-visual sensory experience, broadly construed to include multimodal experience associated with emotional and agential perception, plays a rational role, for instance, as an immediate justifier of belief. -/- .

Recent research suggests that individuals with relatively weak global precedence (i.e., a smaller propensity to view visual stimuli in a configural manner) show a reduced face inversion effect (FIE). Coupled with such findings, a number of recent studies have demonstrated links between an advantage for feature-based processing and the presentation of traits associated with autism among the general population. The present study sought to bridge these findings by investigating whether a relationship exists between the possession of autism-associated traits (i.e., (...) as indicated by individuals’“autism quotient” [(AQ) and the size of the FIE. Participants completed an on-line study in which the AQ was measured prior to a standard face recognition task where half of the faces were inverted at test. The results confirmed that higher AQ levels were predictive of smaller FIEs. Implications for a common underlying factor relating to processing orientation are discussed. (shrink)

Recent research suggests that individuals with relatively weak global precedence (i.e., a smaller propensity to view visual stimuli in a configural manner) show a reduced face inversion effect (FIE). Coupled with such findings, a number of recent studies have demonstrated links between an advantage for feature‐based processing and the presentation of traits associated with autism among the general population. The present study sought to bridge these findings by investigating whether a relationship exists between the possession of autism‐associated traits (i.e., (...) as indicated by individuals’“autism quotient” [(AQ) and the size of the FIE. Participants completed an on‐line study in which the AQ was measured prior to a standard face recognition task where half of the faces were inverted at test. The results confirmed that higher AQ levels were predictive of smaller FIEs. Implications for a common underlying factor relating to processing orientation are discussed. (shrink)

The papers by Macpherson, O'Callaghan, and Batty reveal some startling differences in the objects and properties represented by different modalities. They also reveal some tensions between different ways of understanding what it is for any one modality to represent objects and properties.

To what extent does perceptual language reflect universals of experience and cognition, and to what extent is it shaped by particular cultural preoccupations? This paper investigates the universality~relativity of perceptual language by examining the use of basic perception terms in spontaneous conversation across 13 diverse languages and cultures. We analyze the frequency of perception words to test two universalist hypotheses: that sight is always a dominant sense, and that the relative ranking of the senses will be the same across different (...) cultures. We find that references to sight outstrip references to the other senses, suggesting a pan-human preoccupation with visual phenomena. However, the relative frequency of the other senses was found to vary cross-linguistically. Cultural relativity was conspicuous as exemplified by the high ranking of smell in Semai, an Aslian language. Together these results suggest a place for both universal constraints and cultural shaping of the language of perception. (shrink)

A simple experimental paradigm creates the powerful illusion that one is touching one’s own hand even when the two hands are separated by 15 cm. The participant uses her right hand to administer stimulation to a prosthetic hand while the Examiner provides identical stimulation to the participant’s receptive left hand. Change in felt position of the receptive hand toward the prosthetic hand has previously led to the interpretation that the participant experiences self-touch at the location of the prosthetic hand, and (...) experiences a sense of ownership of the prosthetic hand. Our results argue against this interpretation. We assessed change in felt position of the participant’s receptive hand but we also assessed change in felt position of the participant’s administering hand. Change in felt position of the administering hand was significantly greater than change in felt position of the receptive hand. Implications for theories of ownership are discussed. (shrink)

A simple experimental paradigm creates the powerful illusion that one is touching one’s own hand even when the two hands are separated by 15 cm. The participant uses her right hand to administer stimulation to a prosthetic hand while the Examiner provides identical stimulation to the participant’s receptive left hand. Change in felt position of the receptive hand toward the prosthetic hand has previously led to the interpretation that the participant experiences self-touch at the location of the prosthetic hand, and (...) experiences a sense of ownership of the prosthetic hand. Our results argue against this interpretation. We assessed change in felt position of the participant’s receptive hand but we also assessed change in felt position of the participant’s administering hand. Change in felt position of the administering hand was significantly greater than change in felt position of the receptive hand. Implications for theories of ownership are discussed. (shrink)

Xavier Le Roy’s performance Self-Unfinished is emblematic of how contemporary dance’s resistance to the submission of the body to a codified ideal body model manifests itself through the staging of bodies “beyond codes”, i.e., bodies that take surprising, sometimes even apparently “monstrous” shapes. The purpose of this article is to investigate the “monstrosity” of Self-Unfinished and to sketch out an analysis of it following Hermann Schmitz's theory of the Leib and Tonino Griffero’s account on atmospheres.

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)

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

In this mini-review, we summarized the results of 12 visual mismatch negativity studies that attempted to use this component as a tool for investigating differences between non-clinical samples of participants as well as the possibility of automatic discrimination in the case of specific categories of visual stimuli. These studies investigated the effects of gender, the effects of long-term differences between the groups of participants, and the effects of short-term states, as well as the vMMN effect elicited by artworks (...) as a special stimulus category. (shrink)

The authors O'Regan & Noë (O&N) have ignored the case for the visual field as being non-epistemic evidence internal to the brain, having no pictorial similarity to the external input, and being material in ontological status. They are also not aware of the case for the evolutionary advantage of learning as the perceptual refashioning of such non-epistemic sensory evidence via motivated feedback in sensorimotor activity.

The paper argues that the English verb ‘to see’ can denote three different kinds of conscious states of seeing, involving visual experiences, visual seeming states and introspective seeming states, respectively. The case for the claim that there are three kinds of seeing comes from synesthesia and visual imagery. Synesthesia is a relatively rare neurological condition in which stimulation in one sensory or cognitive stream involuntarily leads to associated experiences in a second unstimulated stream. Visual synesthesia is (...) often considered a case of illusory visual experience. This, however, turns out to be a questionable characterization, as there is evidence suggesting that the brain must cognitively process the stimulus in order for the associated synesthetic experience to arise. Furthermore, some very vivid, visual forms of synesthesia do not involve additional processing in the visual cortex. Visual synesthetic experience is likely to be a non-veridical state of seeming rather than an illusory visual experience. Visual seeming states are cognitive states distinct from visual experiences in terms of their representational richness and their neural correlates. Visual seeming states that are non-deviantly causally related to the states of affair they represent constitute a type of non-experiental seeing. Introspective seeming states that are non-deviantly causally related to underlying visual images constitute a second type of non-experiental seeing. The English verb ‘to see’ can denote all three types of seeing, which is to say that ‘to see’ is polysemous. (shrink)

Evidence from adult studies of deaf signers supports the dissociation between neural systems involved in processing visual linguistic and non-linguistic body actions. The question of how and when this specialization arises is poorly understood. Visual attention to these forms is likely to change with age and be affected by prior language experience. The present study used eye-tracking methodology with infants and children as they freely viewed alternating video sequences of lexical American sign language (ASL) signs and non-linguistic body (...) actions (self-directed grooming action and object-directed pantomime). In Experiment 1, we quantified fixation patterns using an area of interest (AOI) approach and calculated face preference index (FPI) values to assess the developmental differences between 6 and 11-month-old hearing infants. Both groups were from monolingual English-speaking homes with no prior exposure to sign language. Six-month-olds attended the signer’s face for grooming; but for mimes and signs, they were drawn to attend to the “articulatory space” where the hands and arms primarily fall. Eleven-month-olds, on the other hand, showed a similar attention to the face for all body action types. We interpret this to reflect an early visual language sensitivity that diminishes with age, just before the child’s first birthday. In Experiment 2, we contrasted 18 hearing monolingual English-speaking children (mean age of 4.8 years) vs. 13 hearing children of deaf adults (CODAs; mean age of 5.7 years) whose primary language at home was ASL. Native signing children had a significantly greater face attentional bias than non-signing children for ASL signs, but not for grooming and mimes. The differences in the visual attention patterns that are contingent on age (in infants) and language experience (in children) may be related to both linguistic specialization over time and the emerging awareness of communicative gestural acts. (shrink)

Visual arguments can seem to require unique, autonomous evaluative norms, since their content seems irreducible to, and incommensurable with, that of verbal arguments. Yet, assertions of the ineffability of the visual, or of visual-verbal incommensurability, seem to preclude counting putatively irreducible visual content as functioning argumentatively. By distinguishing two notions of content, informational and argumentative, I contend that arguments differing in informational content can have equivalent argumentative content, allowing the same argumentative norms to be rightly applied (...) in their evaluation. (shrink)

The kilogram prototype is an object manufactured in late nineteenth century to serve as the standard unit of mass worldwide. Since then, the kilogram definition has been determined by this unique object, making it a peculiar case in metrological studies. However, after realizing that the prototype’s mass was unexpectedly changing, scientists are seeking a new way to define the kilogram in pure mathematical terms.

Choreography for One, Two, and Three Legs approaches the intentional formation of bodily movement and expression from the various perspectives of individuals who are differently abled. Exploring what it is for a non-dancer to experience various rhythms and movements and spaces with crutches, prosthetic leg, and cane, the essay interweaves phenomenological description and interpretation of suddenly defamiliarized daily activities with discourse drawn from the experiences of professional dancers who are differently abled. The aim is to foreground the opacities, transparencies, (...) and ambiguities of a more general sense of embodied and expressive movement that subtends the abled and differently abled and the non-dancer and dancer, and to acknowledge the lived and living body as the common ground that enables all of our thoughts, movements, and modes of expression, however differentiated their myriad forms and satisfactions. (shrink)

Choreographies of the Living explores the shift from viewing art as an exclusively human undertaking to recognizing it as an activity that all living creatures enact. Carrie Rohman's bioaesthetic framework describes how art-making binds us to other animals in literature, visual art, dance, and performance.

Standard, linguistic means of specifying the content of mental states do so by expressing the content in question. Such means fail when it comes to capturing non-conceptual aspects of visual experience, since no linguistic expression can adequately express such content. One alternative is to use depictions: images that either evoke (reproduce in the recipient) or refer to the content of the experience. Practical considerations concerning the generation and integration of such depictions argue in favour of a synthetic approach: the (...) generation of depictions through the use of an embodied, perceiving and acting agent, either virtual or real. This paper takes the first steps in an investigation as to how one might use a robot to specify the non-conceptual content of the visual experience of an (hypothetical) organism that the robot models. (shrink)

In this paper, an in-depth study of interactive visual communication of network topology through non-line-of-sight congestion control algorithms is conducted to address the real-time routing problem of adapting to dynamic topologies, and a delay-constrained stochastic routing algorithm is proposed to enable packets to reach GB within the delay threshold in the absence of end-to-end delay information while improving network throughput and reducing network resource consumption. The algorithm requires each sending node to select an available relay set based on the (...) location of its neighbor nodes and channel state and computes transfer probabilities for each node in the relay set combining the remaining delay of the packet with the distance from the relay node to GB. Based on the obtained transfer probability and local channel state, the sending node passes the packet to the relay node. The convergence of the algorithm is proved and its performance is verified by simulation. The first part of the algorithm is based on the greedy algorithm to deploy and locate the network flying platform nodes with the goal of efficient coverage of the network flying platform nodes, considering the ground base station services. As the delay on each link varies due to the change of channel state, the source and relay nodes asynchronously update the data generation rate and the pairwise parameters based on the received local information and use the obtained optimal values to pass the packets to GB. (shrink)

The present study was designed to investigate visually handicapped students' explanations for failure when the motive to maintain or enhance self-esteem was in conflict with the motive to present a favorable social image. Subjects experienced manipulated failure in a text comprehension task and were subsequently asked to give causal and responsibility attributions in the presence of either a visually handicapped or a non-handicapped experimenter. It was expected that visually disabled participants would claim a “handicap-bonus” from the non-handicapped experimenter by explicitly (...) presenting non-defensive attributions and accounts as well as handicap-related responses, while defensive explanations should be more pronounced when faced with a blind experimenter. The data provide support for the existence of presumed social expectations as determinants of individuals' verbal self-presentations. (shrink)

Contemporary choreography offers a window onto creative processes that rely on harnessing the power of sensory sys- tems. Dancers use their body as a thing to think with and their sensory systems as engines to simulate ideas non- propositionally. We report here on an initial analysis of data collected in a lengthy ethnographic study of the making of a dance by a major choreographer and show how translating between different sensory modalities can help dancers and choreographer to be more (...) creative. (shrink)

In a recent paper1 I argued that observation can be thought of as the result of a properly composed and functioning observation system. In brief, such a system must be composed of a source object and one or more devices which interact with a receptor. If we think of observation as the result of interaction among components are differing functions, we can approach the problem of describing human sense perception as that of describing one type of observation, differentiated from other (...) types by the organic and species specific nature of the receptor devices. Receptor devices are typed by their specific range of sensitivity, which is best thought of as a limit on the type of devices with which the receiver can interact. One consequence of this view is that observation can be achieved in all sorts of ways by all sorts of organic and non-organic systems as long as they satisfy functional conditions. (shrink)