This chapter explores a way in which visual processing may involve innate constraints and attempts to show how such processing overcomes one enduring challenge to nativism. In particular, many challenges to nativist theories in other areas of cognitive psychology have focused on the later development of such abilities, and have argued that such development is in conflict with innate origins. Innateness, in these contexts, is seen as antidevelopmental, associated instead with static processes and principles. In contrast, certain perceptual (...) models demonstrate how the very same mental processes can both be innately specified and yet develop richly in response to experience with the environment. This process is entirely unmysterious, as shown in certain formal theories of visual perception, including those that appeal to spontaneous endogenous stimulation and those based on Bayesian inference. (shrink)

This thesis falls into two parts, a characterizing part, and an explanatory part. In the first part, I outline some of the core aspects of our ordinary understanding of visual perception, and how we regard it as a means of knowing. What explains the fact that I know that the lemon before me is yellow is my visual perception: I know that the lemon is yellow because I can see it. Some explanations of how one knows (...) specify that in virtue of which one genuinely knows, as opposed to merely believes, some content. Such explanations are epistemically satisfactory explanations. We think that visual perceptual explanations of knowledge can be epistemically satisfactory. I argue that that is what it is to regard visual perception as being among our means of knowing. In the second part, I explore how we might explain the fact that visual perception is a means of knowing (assuming that it is a fact). I ask what makes it the case that visual perception is a means of knowing (in the way we ordinarily think that it is)? I suggest that part of the answer to this question is that visual perception, given the nature it has, has a reason giving role. And that is just to say that the nature of visual perception is such that visually perceiving can ensure the satisfaction of some important condition on knowledge (namely, that if one knows that something is the case one must have a good reason to believe that it is the case). In concluding I suggest that giving this sort of explanation doesn't require a specific theory of perception. (shrink)

In Word and Object, W.V. Quine made thinkable the idea that speech and cognition bear a burden of semantic indeterminacy. On Quine’s account, the upshot of semantic indeterminacy is that meaning and mentalism resist successful naturalization, and thus fail the test of scientific respectibility. For Quine, semantic indeterminacy is a fatal shortcoming.Recent attempts to naturalize meaning in our thought and our talk (e.g. Dretske 1981, Fodor 1987), belonging to a tradition that has thrived in reaction to Quine, have sought to (...) nail down semantic properties in a scientifically respectable fashion, avoiding the scourge of indeterminacy. However, both Quine and the new redeemers of mentalism may have missed the boat. Three case studies offered here will suggest that a thriving theory of visual perception still makes room for some rather striking indeterminacies. (shrink)

Although the study of visual perception has made more progress in the past 40 years than any other area of cognitive science, there remain major disagreements as to how closely vision is tied to general cognition. This paper sets out some of the arguments for both sides and defends the position that an important part of visual perception, which may be called early vision or just vision, is prohibited from accessing relevant expectations, knowledge and utilities - (...) in other words it is cognitively impenetrable. That part of vision is complex and articulated and provides a representation of the 3-D surfaces of objects sufficient to serve as an index into memory, with somewhat different outputs being made available to other systems such as those dealing with motor control. The paper also addresses certain conceptual and methodological issues, including the use of signal detection theory and event-related potentials to assess cognitive penetration of vision. A distinction is made among several stages in visual processing. These include, in addition to the inflexible early-vision stage, a pre-perceptual attention allocation stage and a post-perceptual evaluation, memory-accessing, and inference stage which provide several different highly constrained ways in which cognition can affect the outcome of visual perception. The paper discusses arguments that have been presented in both computer vision and psychology showing that vision is "intelligent" and involves elements of problem solving". It is suggested that these cases do not show cognitive penetration, but rather they show that certain natural constraints on interpretation, concerned primarily with optical and geometrical properties of the world, have been compiled into the visual system. The paper also examines a number of examples where instructions and "hints" are alleged to affect. (shrink)

The two contrasting theoretical approaches to visual perception, the constructivist and the ecological, are briefly presented and illustrated through their analyses of space and size perception. Earlier calls for their reconciliation and unification are reviewed. Neurophysiological, neuropsychological, and psychophysical evidence for the existence of two quite distinct visual systems, the ventral and the dorsal, is presented. These two perceptual systems differ in their functions; the ventral system's central function is that of identification, while the dorsal system (...) is mainly engaged in the visual control of motor behavior. The strong parallels between the ecological approach and the functioning of the dorsal system, and between the constructivist approach and the functioning of the ventral system are noted. It is also shown that the experimental paradigms used by the proponents of these two approaches match the functions of the respective visual systems. A dual-process approach to visual perception emerges from this analysis, with the ecological-dorsal process transpiring mainly without conscious awareness, while the constructivist-ventral process is normally conscious. Some implications of this dual-process approach to visual-perceptual phenomena are presented, with emphasis on space perception. Key Words: constructivist; dual-process approach; ecological; size perception; space perception; two visual systems; visual perception theories. (shrink)

Three case studies offered here will support the conclusion that a successful scientific theory of visual cognition still makes room for some rather systematic and rather striking semantic indeterminacies-W.V. Quine's well-known pessimism about the wages of such indeterminacy not withstanding. The first case concerns the perception of shape, the second concerns color vision, and the third concerns the rules of inference involved in "unconscious inference" within the visual system.

We can make a good prima facie case for the inconsistency of Reid's theory of perception with his rejection of the Ideal Theory. Most scholars believe Reid adopts a theory on which the immediate object of perception is a physical body. Reid is thought to do this in order to avoid problems generated by the veil of perception in the Ideal Theory, a conjunction of commitments Reid closely associates with Hume and Locke. Reid explains that the Ideal (...) Theory "leans with its whole weight upon a hypothesis...[t]hat nothing is perceived but what is in the mind which perceives it". Reid attributes to the Ideal Theory thesis. (shrink)

Seeking whether our perception produces knowledge which is not only relative or subjective perspective on things, is to be engaged in the realist/anti-realist debate regarding perception. In this article I pursue the naturalistic approach according to which the question whether perception delivers objective knowledge about the external world is inseparable from empirical investigation into mechanisms of perception. More precisely, I have focused on the dual aspect theory of perception, one of the most influential recent (...) class='Hi'>theories of perception which unifies two traditionally opposite approaches to perception: ecological and constructivist. I have tried to show that the dualistic model of human vision does not support the majority of realist theses aimed at non-relativism, but supports only pragmatic realism about observational reports (dorsal system) and the moderate realism about observational reports (ventral system). (shrink)

How does a picture teach a viewer to look at it, understand it, and make meaning?. “Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook.” Semiotica, 118 : 1–70 and Peter Pericles Trifonas.. “Texts and images.” In International handbook of semiotics, Vols. 1&2, edited by Peter Pericles Trifonas. The Netherlands: Springer. Pp. 1139–1154.) The suggestion for a pictorial grammar has been derived from the fact that pictures have no (...) unique visual metalanguage and therefore require recourse to language as an instrument for pictorial analysis. The lexical-visual relationship in a text is more complex than is suggested in the question. Proponents for the semiotic autonomy of pictures have objected that the commentaries of crossmedial contexts have not asserted the semiotic priority of the lexical over the visual message. ‘Is an autonomous semiotics of visual perception possible, or does the semiotic analysis of pictorial text always require recourse to the model of language?’. (shrink)

Fodor & Pylyshyn (1981) criticize J. J. Gibson's ecological account of perception for failing to address what I call the 'correlation problem' in visual perception. That is, they charge that Gibson cannot explain how perceivers learn to correlate detectable properties of the light with perceptible properties of the environment. Furthermore, they identify the correlation problem as a crucial issue for any theory of visual perception, what I call a 'primary problem'—i.e. a problem which plays a (...) definitive role in establishing the concerns of a particular scientific research program. If they are correct, Gibson's failure to resolve this problem would cast considerable doubt upon his ecological approach to perception. In response, I argue that both Fodor & Pylyshyn's problem itself and their proposed inferential solution embody a significant mistake which needs to be eliminated from our thinking about visual perception. As part of my response, I also suggest a Gibsonian alternative to Fodor & Pylyshyn's primary problem formulation. (shrink)

In his ecological approach to perception, James Gibson introduced the concept of affordance to refer to the perceived meaning of environmental objects and events. this paper examines the relational and causal character of affordances, as well as the grounds for extending affordances beyond environmental features with transcultural meaning to include those features with culturally-specific meaning. such an extension is seen as warranted once affordances are grounded in an intentional analysis of perception. toward this end, aspects of merleau-ponty's treatment (...) of perception are explored. finally, a resolution of the apparent tension between the relational and perceiver-independent nature of affordances is presented. (shrink)

In this first book-length examination of the Cartesian theory of visual perception, Celia Wolf-Devine explores the many philosophical implications of Descartes’ theory, concluding that he ultimately failed to provide a completely mechanistic theory of visual perception. Wolf-Devine traces the development of Descartes’ thought about visual perception against the backdrop of the transition from Aristotelianism to the new mechanistic science—the major scientific paradigm shift taking place in the seventeenth century. She considers the philosopher’s work in (...) terms of its background in Aristotelian and later scholastic thought rather than looking at it "backwards" through the later work of the British empiricists and Kant. Wolf-Devine begins with Descartes’ ideas about perception in the _Rules _and continues through the later scientific writings in which he develops his own mechanistic theory of light, color, and visual spatial perception. Throughout her discussion, she demonstrates both Descartes’ continuity with and break from the Aristotelian tradition. Wolf-Devine critically examines Cartesian theory by focusing on the problems that arise from his use of three different models to explain the behavior of light as well as on the ways in which modern science has not confirmed some of Descartes’ central hypotheses about vision. She shows that the changes Descartes made in the Aristotelian framework created a new set of problems in the philosophy of perception. While such successors to Descartes as Malebranche, Locke, Berkeley, and Hume accepted the core of his theory of vision, they struggled to clarify the ontological status of colors, to separate what is strictly speaking "given" to the sense of sight from what is the result of judgments by the mind, and to confront a "veil of perception" skepticism that would have been unthinkable within the Aristotelian framework. Wolf-Devine concludes that Descartes was not ultimately successful in providing a completely mechanistic theory of visual perception, and because of this, she suggests both that changes in the conceptual framework of Descartes are in order and that a partial return to some features of the Aristotelian tradition may be necessary. (shrink)

Seeking whether our perception produces knowledge which is not only relative or subjective perspective on things, is to be engaged in the realist/anti-realist debate regarding perception. In this article I pursue the naturalistic approach according to which the question whether perception delivers objective knowledge about the external world is inseparable from empirical investigation into mechanisms of perception. More precisely, I have focused on the dual aspect theory of perception, one of the most influential recent (...) class='Hi'>theories of perception which unifies two traditionally opposite approaches to perception: ecological and constructivist. I have tried to show that the dualistic model of human vision does not support the majority of realist theses aimed at non-relativism, but supports only pragmatic realism about observational reports (dorsal system) and the moderate realism about observational reports (ventral system). (shrink)

Seeking whether our perception produces knowledge which is not only relative or subjective perspective on things, is to be engaged in the realist/anti-realist debate regarding perception. In this article I pursue the naturalistic approach according to which the question whether perception delivers objective knowledge about the external world is inseparable from empirical investigation into mechanisms of perception. More precisely, I have focused on the dual aspect theory of perception, one of the most influential recent (...) class='Hi'>theories of perception which unifies two traditionally opposite approaches to perception: ecological and constructivist. I have tried to show that the dualistic model of human vision does not support the majority of realist theses aimed at non-relativism, but supports only pragmatic realism about observational reports (dorsal system) and the moderate realism about observational reports (ventral system). (shrink)

We examine a number of investigations of perceptual economy or, more specifically, of minimum tendencies and minimum principles in the visual perception of form, depth, and motion. A minimum tendency is a psychophysical finding that perception tends toward simplicity, as measured in accordance with a specified metric. A minimum principle is a theoretical construct imputed to the visual system to explain minimum tendencies. After examining a number of studies of perceptual economy, we embark on a systematic (...) analysis of this notion. We examine the notion that simple perceptual representations must be defined within the "geometric constraints" provided by proximal stimulation. We then take up metrics of simplicity. Any study of perceptual economy must use a metric of simplicity; the choice of metric may be seen as a matter of convention, or it may have deep theoretical and empirical implications. We evaluate several answers to the question of why the visual system might favor economical representations. Finally, we examine several accounts of the process for achieving perceptual economy, concluding that those which favor massively parallel processing are the most plausible. (shrink)

Philosophical inquiries into the nature of consciousness have long been intrinsically tied to questions regarding the nature of the self. Although philosophers of mind seldom make reference to the role of cultural context in shaping consciousness, since antiquity culture has played a notable role in philosophical conceptions of the self. Western philosophers, from Plato to Locke, have emphasized an individualistic view of the self that is autonomous and consistent across situations, while Eastern philosophers, such as Lao Tzu and Confucius, have (...) argued for a collectivistic view of the self, one that is interconnected to others and embedded within specific social contexts and situations. Here we argue that a comprehensive theory of consciousness needs to account for the role of cultural context and its bidirectional interaction with neural and genetic mechanisms in shaping a variety of conscious phenomena, from visual perception to self- awareness. We review recent evidence of cultural variation in neurobiological mechanisms underlying these phenomena and discuss the implications of these cultural neuroscience findings for the study of consciousness. (shrink)

This Handbook of Visual Communication explores the key theoretical areas and research methods of visual communication. With chapters contributed by many of the best-known and respected scholars in visual communication, this volume brings together significant and influential work in the discipline. The second edition of this already-classic text has been completely revised to reflect the metamorphosis of communication in the last 15 years and the ubiquity of visual communication in our modern mediated lifestyle. Thriteen major (...) class='Hi'>theories of communication are defined by the top experts in their fields: perception, cognition, aesthetics, visual rhetoric, semiotics, cultural studies, ethnography, narrative, media aesthetics, digital media, intertextuality, ethics, and visual literacy. Each of these theory chapters is followed by an exemplar study or two in the area, demonstrating the various methods used in visual communication research as well as the research approaches applicable for specific media types. The Handbook of Visual Communication is a theoretical and methodological handbook for visual communication researchers and a compilation for much of the theoretical background necessary to understand visual communication. It is required reading for scholars, researchers, and advanced students in visual communication, and it will be influential in other disciplines such as advertising, persuasion, and media studies. The volume will also be essential to media practitioners seeking to understand the visual aspects of how audiences use media to contribute to more effective use of each specific medium. (shrink)

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and (...) back-end cognitive processes. Front-end processes occur during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

Is vision merely a state of the beholder’s sensory organ which can be explained as an immediate effect caused by external sensible objects? Or is it rather a successive process in which the observer actively scanning the surrounding environment plays a major part? These two general attitudes towards visual perception were both developed already by ancient thinkers. The former is embraced by natural philosophers (e.g., atomists and Aristotelians) and is often labelled “intromissionist”, based on their assumption that vision (...) is an outcome of the causal influence exerted by an external object upon a sensory organ receiving an entity from the object. The latter attitude to vision as a successive process is rather linked to the “extramissionist” theories of the proponents of geometrical optics (such as Euclid or Ptolemy) who suggest that an entity – a visual ray – is sent forth from the eyes to the object. The present paper focuses on the contributions to this ancient controversy proposed by some 13th-century Latin thinkers. [...]. (shrink)

The parallel drawn by Norman between the dorsal and ventral systems and direct and indirect approaches is based on two misrepresentations of the direct approach – that it is concerned only with the unconscious control of action, and that it cannot explain learning. We propose a way of understanding the visual system differences from within the direct approach.

This chapter contains section titled: Background The World and Treatise on Man (1633) Optics (1637) Meteorology (1637) Principles of Philosophy (1644) Conclusion References and Further Reading.

What is the relationship between perception and action, between an organism and its environment, in explaining consciousness? These are issues at the heart of philosophy of mind and the cognitive sciences. This book explores the relationship between perception and action from a variety of interdisciplinary perspectives, ranging from theoretical discussion of concepts to findings from recent scientific studies. It incorporates contributions from leading philosophers, psychologists, neuroscientists, and an artificial intelligence theorist. The contributions take a range of positions with (...) respect to the view that perception is an achievement by an agent acting in a complex environment in which sensorimotor dynamics constitute an essential ingredient to perceptual experience. A key focus of the book is on the debate about action-oriented theories of visual perception versus the dual-visual systems hypothesis The former champions the role of sensorimotor dynamics in perceptual awareness while the latter favours a functional dichotomy between perception and action. At least on the surface, these two approaches are in conflict. Where one emphasizes the interdependence of action and perception, the other suggests that action and perception are functionally distinct. The dialogue between these two approaches brings out wider theoretical issues underlying the research paradigm of cognitive sciences and philosophy of mind. Exploring one of the major debates in the philosophy and psychology, this book is fascinating reading for all those in the cognitive sciences and philosophy of mind. (shrink)

This paper argues that, assuming some widely held views about how vision justifies beliefs, there is an important epistemic asymmetry between visual perception and the perception of bodily sensations. This asymmetry arises when we consider the epistemic significance of the distinction between low-level and high-level properties in perceptual experience. I argue that a distinction exists between low-level and high-level properties of bodily sensations which parallels that distinction in the objects of visual experience. I then survey evidence (...) revealing systematic unreliability in an important dimension of our perception of low-level bodily sensational properties. I argue that this unreliability results in an epistemic asymmetry with vision. I conclude by sketching some implications of this asymmetry for developing a general, unified theory of perceptual justification. (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)

This book is an interdisciplinary exploration of the relationship between perception and action, with a focus on the debate about the dual visual systems hypothesis, against action oriented theories of perception.