We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

We can perceive shapes visually and tactilely, and the information we gain about shapes through both sensory modalities is integrated smoothly into and functions in the same way in our behavior independently of whether we gain it by sight or touch. There seems to be no reason in principle we couldn't perceive shapes through other sensory modalities as well, although as a matter of fact we do not. While we can identify shapes through other sensory modalities—e.g., I may know by (...) smell (the scent of mango) that the object causing my sensory experience is round—this is not perceiving an object as shaped, but rather inferring from the character of one's sensory experience and collateral information that an object of a certain shape caused it. That it is possible to perceive shape by other modalities, however, is suggested by the case of bats and aquatic mammals like dolphins which navigate through their environment by a form of sonar. It is plausible that they have some form of auditory representation of space, and so of shape. These facts about shape perception raise important questions about the relation between those features of perceptual experience which are intrinsic to different sensory modalities and the nature of our perceptual representation of shapes, and, more generally, of the space within which we perceive shaped objects to be located. John Campbell's paper, "Molyneux's Problem" (see above), raises a number of interesting and important questions about the nature of our perception of shape properties, particularly the cross-modal nature of shape perception, and ties them to more general questions about the nature both of perceptual.. (shrink)

The way we refer to things in the world is shaped by the immediate physical context as well as the discourse history. But what part of the discourse history is relevant to language use in the present? In four experiments, we combine the study of task‐based conversation with measures of recognition memory to examine the role of physical contextual cues that shape what speakers perceive to be a part of the relevant discourse history. Our studies leverage the differentiation effect, (...) a phenomenon in which speakers are more likely to use a modified expression to refer to an object (e.g., dotted sock) if they had previously described a similar object (e.g., striped sock) than when they had not described a similar object. Two physical cues—the background that framed the to‐be‐described pictures and the position of the pictures in the display—were manipulated to alter perceptions about the relevant discourse context. We measured the rate with which speakers modify referring expressions to differentiate current from past referents. Recognition memory measures following the conversation probed what was and was not remembered about past discourse referents and contexts. Analysis of modification rates indicated that these contextual grouping cues shaped perceptions about the relevant discourse context. The contextual cues did not affect memory for the referents, but the memory for past referents was better for speakers than for listeners. Our findings show that perceptions about the relevant discourse history are a key determinant of how language is used in the moment but also that conversational partners form asymmetric representations of the discourse history. (shrink)

A common approach to explaining the perception of form is through the use of static features. The weakness of this approach points naturally to dynamic definitions of form. Considering dynamical form, however, leads inevitably to the need to explain how events are perceived as time-extended—a problem with primacy over that even of qualia. Optic flow models, energy models, models reliant on a rigidity constraint are examined. The reliance of these models on the instantaneous specification of form (...) at an instant, t, or across a series of such instants forces the consideration of the primary memory supporting both the perception of time-extended events and the time-extension of consciousness. This cannot be reduced to an integration over space and time. The difficulty of defining the basis for this memory is highlighted in considerations of dynamic form in relation to scales of time. Ultimately, the possibility is raised that psychology must follow physics in a more profound approach to time and motion. (shrink)

Urban agriculture (UA) is spreading within the Global North, largely for food production, ranging from household individual gardens to community gardens that boost neighborhood regeneration. Additionally, UA is also being integrated into buildings, such as urban rooftop farming (URF). Some URF experiences succeed in North America both as private and community initiatives. To date, little attention has been paid to how stakeholders perceive UA and URF in the Mediterranean or to the role of food production in these initiatives. This study (...) examines the promotion and inclusion of new forms of UA through the practice of URF and contributes to the nascent literature on the stakeholder and public perceptions of UA. It seeks to understand how those perceptions shape the development of new urban agriculture practices and projects. Barcelona (Spain) was used as a Mediterranean case study where UA and URF projects are growing in popularity. Through semi-structured interviews with 25 core stakeholders, we show that UA is largely perceived as a social activity rather than a food production initiative, because the planning of urban gardens in Barcelona was traditionally done to achieve leisure and other social goals. However, several stakeholders highlighted the potential to increase urban fertility through URF by occupying currently unused spaces. As a result, the positive valuation of URF depends on the conceptualization of UA as a social or food production activity. In turn, such conceptualization shapes barriers and opportunities for the development of URF. While most UA-related stakeholders (e.g., food co-ops, NGOs) preferred soil-based UA, newer stakeholders (e.g., architects) highlighted the economic, social and environmental opportunities of local and efficient food production through innovative URF. (shrink)

This essay attempts to assess whether the perceptual issues posed by the contemporary interface culture, and the constant attitude shift demanded by the new media between the “natural” and the “as if” modes, might be considered a significant challenge for phenomenological aesthetics as understood in terms of Merleau-Ponty’s phenomenology of perception. To demonstrate how the use of a particular interface profoundly shapes the form and structure of an activity as well as enabling perception of a particular kind, the author (...) does not focus directly on the state-of-the-art smart interfaces, but describes the experience of cycling in a large city, with the interface in the form of the bicycle upgraded with an imagined ride simulator. While the former enables a very particular entrance into the world of perception, shaped by its moderate speed and detachment from the ground, the latter enables techno-shaped perception in the “as if” screenic mode. The experience described raises questions concerning the kinaesthetic, proprioceptive and motor features contributing to the cyclist’s mobile perception, as well as pointing to issues related to the reading of the city’s network as a particular spatial configuration generated by the cyclist’s realtime activity. This is the space-time-event-ridescape maintained and modified by the corporeal act of cycling. The spatiality of such a ride does not presume the notion of a space that contains the cyclist, but builds on notions of being-in-the-ridescape (as a kind of cityscape), in terms not only of full corporeal and mental engagement, but also of bodily literacy. The reading of the cityscape enabled by the combination of two interfaces, the bicycle and the ride simulator, is discussed in relation to de Certeau’s account of pedestrian (walking) experience in a big city, his distinction between strategies and tactics, and the notion that each cyclist contributes a novel story to ridetext, which is viewed not as an aesthetic object but as the production of puzzles for the rider to solve. The paper cocludes by questioning the capacity of phenomenology to accommodate the contemporary phenomenon of a “mixed” or “augmented reality” either in concept or in relation to the demands of the phenomenological reduction and the ends of the epoché. Indo-Pacific Journal of Phenomenology, Volume 10, Edition 2, October 2010: 61-71. (shrink)

The aim of this chapter is to take a closer look at medieval discussions concerning the phenomenon of ‘perceiving as,’ and the psychological mechanisms that lie behind it. In contemporary philosophical literature this notion is usually used to refer to conceptual aspects of perception. For instance, when I perceive a black birdlike shape as a crow, I may be said to perceive the particular sensible thing x as an instance of a universal crowness φ, that is, as belonging to (...) a natural kind and falling under the concept of ‘crow’. In this sense, perceiving x as φ requires mastering the concept φ. However, I use the term ‘perceiving as’ in a wider sense and concentrate on various kinds of non-conceptual sensory processes, which can be understood as forms of ‘perceiving as’. Even though conceptual perception requires intellectual powers, medieval discussions on cognitive psychology can be understood properly only by taking into account the complex forms of perception that fall short of being truly intellectual, but are nevertheless over and above the simple sensation of sensible qualities of external things. The borderline between simple sensation and conceptual perception is unclear, and quite a lot is going on in the grey area between the two. Instead of presupposing any modern notion of ‘perceiving as’ and applying it to medieval discussions, my purpose is the opposite: to look at medieval discussions and see if they can be used to broaden modern discussions by including also non-conceptual varieties of perception. I shall begin the analysis in section two by specifying various types of cogni- tive processes that were discussed by medieval authors and can be considered as forms of ‘perceiving as’. The bulk of the historical work will be done in sec- tion three, where I focus on medieval discussions on three interrelated cogni- tive functions – perceiving different sensible qualities as a synthetic whole, incidental perception of one sensible quality through another, and the possi- bility of perceiving substances and recognising individuals. The reader should bear in mind that I shall use ideas from several medieval authors without pay- ing much attention to the differences between their theories of perception. Although occasionally radical, these differences are not highly relevant in the context of the present chapter. In section four, I propose two theoretical mod- els that can be used for analysing medieval views concerning these psychologi- cal phenomena. Finally, I conclude the chapter by making some remarks on the potential impacts of reading medieval views in relation to the concept of ‘perceiving as’. (shrink)

Two components of lay observers’ calculus of moral judgment are proximal intent (the actor’s mind is focused on performing the action) and distal intent (the actor’s mind is focused on the broader goal). What causes observers to prioritize one form of intent over the other? The authors observed whether construal level (Studies 1-2) and beliefs about free will (Studies 3-4) would influence participants’ sensitivity to the actor’s proximal versus distal intent. In four studies, participants read scenarios in which the (...) actor’s proximal and distal intent were independently manipulated. In Study 1, when only distal intent was present in the actor’s mind, participants rated the psychologically distant actor more responsible than the psychologically near actor. In Study 2, when only distal intent was in the actor’s mind, participants with a chronic high level of action identification rated the actor more responsible than did those with a low level of action identification. In both studies, when only proximal intent was in the actor’s mind, construal level did not predict judgments of responsibility. In Study 3, when only proximal intent was present in the actor’s mind, the more participants believed in free will, the more they rated the actor responsible. When only distal intent was in the actor’s mind, free will belief did not influence ratings of responsibility. In Study 4, the same pattern emerged when free will / determinism beliefs were manipulated and the actor performed a positive (life-saving) act. The authors discuss how these results shed new light on the literatures on moral reasoning and psycho-legal theory. (shrink)

Seeing, Doing, and Knowing is an original and comprehensive philosophical treatment of sense perception as it is currently investigated by cognitive neuroscientists. Its central theme is the task-oriented specialization of sensory systems across the biological domain. Sensory systems are automatic sorting machines; they engage in a process of classification. Human vision sorts and orders external objects in terms of a specialized, proprietary scheme of categories - colours, shapes, speeds and directions of movement, etc. This 'Sensory Classification Thesis' implies that sensation (...) is not a naturally caused image from which an organism must infer the state of the world beyond; it is more like an internal communication, a signal concerning the state of the world issued by a sensory system, in accordance with internal conventions, for the use of an organism's other systems. This is why sensory states are both easily understood and persuasive.Sensory classification schemes are purpose-built to serve the knowledge-gathering and pragmatic needs of particular types of organisms. They are specialized: a bee or a bird does not see exactly what a human does. The Sensory Classification Thesis helps clarify this specialization in perceptual content and supports a new form of realism about the deliverances of sensation: 'Pluralistic Realism' is based on the idea that sensory systems coevolve with an organism's other systems; they are not simply moulded to the external world. The last part of the book deals with reference in vision. Cognitive scientists now believe that vision guides the limbs by means of a subsystem that links up with the objects of physical manipulation in ways that bypass sensory categories. In a novel extension of this theory, Matthen argues that 'motion-guiding vision' is integrated with sensory classification in conscious vision. This accounts for the quasi-demonstrative form of visual states: 'This particular object is red', and so on. He uses this idea to cast new light on the nature of perceptual objects, pictorial representation, and the visual representation of space. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality (...) forms enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

Cognition and Temporality argues that both verbal grammar and figural grammar have their cognitive basis in twelve characteristic forms of judgment, distributed among individuals in human populations throughout history. These twelve logical forms are context-free and language-free foundations in our attentional awareness, and shape all verbal and figural statements. Moreover, these types of historical judgment are psychogenetic inheritances in a population, and each serves a distinct problem-solving function in the human species. Through analysis of verbal and figural statements, the (...) author contends, the researcher can find evidence of these forms of judgment, and in turn analyze how the event to which those statements attend is formally constructed by that judgment. This construction guides how the event is assessed, approached, and engaged in the process of problem-solving. Artists and aestheticians in the early twentieth century--including Wassily Kandinsky, Stephen C. Pepper, and Andrew Paul Ushenko--have all posited an inherited attentional perspective in individuals, manifested in the logical correspondence between their distinctive verbal and figural grammars. Cognition and Temporality elaborates these claims, arguing that while the styles of well-known artists and writers are conditioned by the public styles of a particular time period, variations in personal style manifest one's inherited form of judgment, and the characteristic grammars that express that form. Through rigorous visual and stylistic analysis, the author demonstrates the expression of these forms among notable writers and artists across history. The result is a wide-ranging and provocative contribution to phenomenology, aesthetic philosophy, and cultural history. (shrink)

Our visual experience of the world is one of diverse objects and events, each with particular colors, shapes, and motions. This experience is so coherent, so immediate, and so effortless that it seems to result from a single system that lets us experience everything in our field of view. But however appealing, this belief is mistaken: there are severe limits on what can be visually experienced. -/- For example, in a display for air-traffic control it is important to track all (...) moving items. For a single item, this can be done without problem. Three or four can also be tracked, although some degree of effort may be needed. As the number is increased further, accurate tracking becomes more and more difficult—and eventually, impossible. Performance is evidently affected by a factor within the observer which enables certain kinds of perception to occur, but is limited in some way. This factor is generally referred to as attention. -/- At various times, attention has been associated with clarity of perception, intensity of perception, consciousness, selection, or the allocation of a limited “resource” enabling various operations (see Hatfield, 1998). During the past several decades, considerable progress has been achieved by focusing on the idea of selection (Broadbent, 1982). In particular, attention can be productively viewed as contingently selective processing. This can be embodied in various ways by various processes—there need not be a single quantity identified with all forms of attention, or a single site where it operates (Allport, 1993; Tsotsos, 2011). Although “paying attention” is often considered to be a unitary operation, it may simply refer to the control of one or more selective processes, ideally in a co-ordinated way. While this view has some cost in terms of conceptual simplicity, it can help make sense of a large set of phenomena. -/- This article surveys several of the major issues in our understanding of attention and how it relates to perception. It focuses on vision, since many—if not all—considerations are similar for all sensory modalities, and the level of understanding achieved in this domain is currently the most advanced. (shrink)

Despite the amount of theorization on the forms and effects of participation, relatively little research directly examines what the concept of workplace participation entails in the minds of employees, and whether employees across cultures think positively when the concept of participation is activated in their mental representation. Three studies investigated the perceptions and preferences of full-time employees from the United States and China, cultures that might be expected to differ in their societal participation norm. Using a free association test and (...) text analyses, Study 1 demonstrated that Chinese and American employees differed in their construal of workplace participation, yet both culture groups associated positive valence to the concept of participation. Study 2 showed that employees’ preference for workplace participation is positively related to their perceptions of its outcomes on productivity, job satisfaction, and workplace conflict. Study 3 had employees interact with either a prototypically high or low participation work environment and tested whether clear cultural contrasts might occur. American employees expressed unambiguous endorsement and predicted positive outcomes of a high participation workplace, whereas Chinese employees expressed slightly higher endorsement to a low participation work environment and associated it with higher productivity. This research provides insights on how workplace participation is construed by employees from different cultures, especially from cultures where democratic participation is not the normative default. Different perspectives on workplace participation across cultures may inform practitioners of the goals and approaches when shaping a more participatory workplace and a more democratic society. (shrink)

In this paper I take up the question of whether Wilfrid Sellars has a notion of non-conceptual perceptual content. The question is controversial, being one of the fault lines along which so-called left and right Sellarsians diverge. In the paper I try to make clear what it is in Sellars' thought that leads interpreters to such disparate conclusions. My account depends on highlighting the importance of Sellars' little discussed thesis that perception involves a systematic form of mis-categorization, one where (...) perceivers mistake their sensory states to be properties of physical objects. I argue that the counterpart color and shape attributes of these states, which become ‘point of viewish’ when organized by the productive imagination, provides perceptual experience with its non-conceptual representational content. I then argue that this content is not a form of the mythical Given because one can only have a non-conceptual point of view on an object when an object is introduced into one's perceptual experience through the conceptual mis-taking of one's sensory states. So, while Sellars has a notion of non-conceptual representational content, it can only be salient in the context of a perceptual act that is conceptual overall. (shrink)

Individuals unvaccinated against COVID-19 (C19) experienced prejudice and blame for the pandemic. Because people vastly overestimate C19 risks, we examined whether these negative judgements could be partially understood as a form of scapegoating (ie, blaming a group unfairly for an undesirable outcome) and whether political ideology (previously shown to shape risk perceptions in the USA) moderates scapegoating of the unvaccinated. We grounded our analyses in scapegoating literature and risk perception during C19. We obtained support for our speculations through (...) two vignette-based studies conducted in the USA in early 2022. We varied the risk profiles (age, prior infection, comorbidities) and vaccination statuses of vignette characters (eg, vaccinated, vaccinated without recent boosters, unvaccinated, unvaccinated-recovered), while keeping all other information constant. We observed that people hold the unvaccinated (vs vaccinated) more responsible for negative pandemic outcomes and that political ideology moderated these effects: liberals (vs conservatives) were more likely to scapegoat the unvaccinated (vs vaccinated), even when presented with information challenging the culpability of the unvaccinated known at the time of data collection (eg, natural immunity, availability of vaccines, time since last vaccination). These findings support a scapegoating explanation for a specific group-based prejudice that emerged during the C19 pandemic. We encourage medical ethicists to examine the negative consequences of significant C19 risk overestimation among the public. The public needs accurate information about health issues. That may involve combating misinformation that overestimates and underestimates disease risk with similar vigilance to error. (shrink)

Action is a means of acquiring perceptual information about the environment. Turning around, for example, alters your spatial relations to surrounding objects and, hence, which of their properties you visually perceive. Moving your hand over an object’s surface enables you to feel its shape, temperature, and texture. Sniffing and walking around a room enables you to track down the source of an unpleasant smell. Active or passive movements of the body can also generate useful sources of perceptual information (Gibson (...) 1966, 1979). The pattern of optic flow in the retinal image produced by forward locomotion, for example, contains information about the direction in which you are heading, while motion parallax is a “cue” used by the visual system to estimate the relative distances of objects in your field of view. In these uncontroversial ways and others, perception is instrumentally dependent on action. According to an explanatory framework that Susan Hurley (1998) dubs the “Input-Output Picture”, the dependence of perception on action is purely instrumental: "Movement can alter sensory inputs and so result in different perceptions… changes in output are merely a means to changes in input, on which perception depends directly" (1998: 342). -/- The action-based theories of perception, reviewed in this entry, challenge the Input-Output Picture. They maintain that perception can also depend in a noninstrumental or constitutive way on action (or, more generally, on capacities for object-directed motor control). This position has taken many different forms in the history of philosophy and psychology. Most action-based theories of perception in the last 300 years, however, have looked to action in order to explain how vision, in particular, acquires either all or some of its spatial representational content. Accordingly, these are the theories on which we shall focus here. -/- We begin in Section 1 by discussing George Berkeley’s Towards a New Theory of Vision (1709), the historical locus classicus of action-based theories of perception, and one of the most influential texts on vision ever written. Berkeley argues that the basic or “proper” deliverance of vision is not an arrangement of voluminous objects in three-dimensional space, but rather a two-dimensional manifold of light and color. We then turn to a discussion of Lotze, Helmholtz, and the local sign doctrine. The “local signs” were felt cues for the mind to know what sort of spatial content to imbue visual experience with. For Lotze, these cues were “inflowing” kinaesthetic feelings that result from actually moving the eyes, while, for Helmholtz, they were “outflowing” motor commands sent to move the eyes. -/- In Section 2, we discuss sensorimotor contingency theories, which became prominent in the 20thcentury. These views maintain that an ability to predict the sensory consequences of self-initiated actions is necessary for perception. Among the motivations for this family of theories is the problem of visual direction constancy—why do objects appear to be stationary even though the locations on the retina to which they reflect light change with every eye movement?—as well as experiments on adaptation to optical rearrangement devices (ORDs) and sensory substitution. -/- Section 3 examines two other important 20th century theories. According to what we shall call the motor component theory, efference copies generated in the oculomotor system and/or proprioceptive feedback from eye-movements are used together with incoming sensory inputs to determine the spatial attributes of perceived objects. Efferent readiness theories, by contrast, look to the particular ways in which perceptual states prepare the observer to move and act in relation to the environment. The modest readiness theory, as we shall call it, claims that the way an object’s spatial attributes are represented in visual experience can be modulated by one or another form of covert action planning. The bold readiness theory argues for the stronger claim that perception just is covert readiness for action. -/- In Section 4, we move to the disposition theory, most influentially articulated by Gareth Evans (1982, 1985), but more recently defended by Rick Grush (2000, 2007). Evans’ theory is, at its core, very similar to the bold efferent readiness theory. There are some notable differences, though. Evans’ account is more finely articulated in some philosophical respects. It also does not posit a reduction of perception to behavioral dispositions, but rather posits that certain complicated relations between perceptual input and behavioral provide spatial content. Grush proposes a very specific theory that is like Evans’ in that it does not posit a reduction, but unlike Evans’ view, does not put behavioral dispositions and sensory input on an undifferentiated footing. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

Many thanks to Ian Kidd and John Swinton for their most interesting, and extremely different, commentaries on my paper. I agree with the thrust of Kidd’s argument and hope that these possibilities may be explored more fully elsewhere. Swinton’s commentary is far more critical, and raises issues in need of urgent clarification—I therefore focus on these.Swinton begins his critique by saying that, “One of the basic presumptions that underpins the study and its conclusions is that depression is a natural entity (...) that can be clearly identified and responded to.” This perception of my paper confuses and concerns me, because I am not sure what has given this impression. It has thus far proved impossible to... (shrink)

Academic cheating, a common and consequential form of dishonesty, has puzzled moral psychologists and educators for decades. The present research examined a new theoretical approach to the perceptions, evaluations, and motivations that shape students’ decisions to cheat. We tested key predictions of this approach by systematically examining students’ accounts of their own cheating. In two studies, we interviewed undergraduates in psychology (n = 68) and engineering (n = 123) classes about their past experiences with plagiarism or other cheating. (...) Interviews assessed students’ perceptions of whether they were cheating, their evaluations of whether their actions were okay, and their motivations for doing what they did. Most students did not initially recognize their acts as cheating. While students generally thought cheating was wrong, they often judged the exceptional cases in which they cheated to be acceptable, citing concerns such as assignment goals and task feasibility. The findings suggest that perceptions, evaluations, and competing motivations play a key role in students’ decisions to cheat. (shrink)

Several disciplines share an interest in the evolutionary selection pressures that shaped human physical functioning and appearance, psyche, and behavior. The methodologies invoked from the disciplines studying these domains are often based on different rhetorics, and hence may conflict. Progress in one field is thereby hampered from effective transfer to others. Topics at the intersection of anthropometry and psychometry, such as the impact of sexual selection on the hominin face, are a typical example. Since the underlying theory explicitly places facial (...) form in the middle of a causal chain as the mediating variable between biological causes and psychological effects, a particularly convenient conceptual and analytic scenario arises as follows. Modern morphometrics allows analysis of shape both “backwards” and “forwards” . The two computations are commensurate, hence the two kinds of effects can be compared and evaluated as directions in the same morphospace. We suggest translating the morphometric methodology of “Darwinian aesthetics” into this space, where psychological and other processes of interest can be coded commensurately. Such a translation permits researchers to relate the effects of biological processes on form to the perceptions of the same processes in one unified “psychomorphospace.”. (shrink)

As a result of the devastating health effects of the COVID-19 outbreak, the lockdown has been considered a safety measure in many countries. In Pakistan, the first case of COVID-19 was reported in February 2020. The purpose of this qualitative study was to investigate people’s risk perception and protective behavior during the lockdown. Twenty-two (22) participants from eight big cities across Pakistan were interviewed. A six-step reflective thematic analysis was used for data analysis. The study focused on risk perception and (...) protective behaviors. Our main analytical goal was to understand how risk perception shapes human behavior in the context of lockdown, pandemic-related information flow, and corresponding meaning-making. The study revealed that people influenced by information and advice campaigns form a perception of risk that has shaped their protective behavior. They used familiar means of coping with distress, including the search for strength through religious belief practices and following the precautions recommended by health professionals through the media. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Impulsive Forces in and Against WordsAlphonso Lingis (bio)In his lecture "Nietzsche, le polythéisme et la parodie" given at the Collège de Philosophie in 1957 and published in 1963 in his Un si funeste désir, Pierre Klossowski explicated certain radical passages from Nietzsche's The Gay Science, a work he had newly translated into French (two prior translations existed). In the philosophical world of France where perception seemed to have found (...) its definitive elucidation in the phenomenology of perception of Maurice Merleau-Ponty (1945), Nietzsche's exposition of sensory experience, as Klossowski laid it out, was so radically different from that phenomenology that it could not be assimilated. In his Nietzsche et le cercle vicieux, published in 1969, Klossowski worked on texts Nietzsche left unpublished and which date from the years of The Gay Science onward. Philosophers, Nietzsche had written, do not simply coordinate and justify the works and science of society; they break at least in part with the common language by formulating their own aggressivity, tolerance, intimidation, anxieties, need of solitude, or need to forget themselves. And Nietzsche too speaks not of what is common and communicable but of what he experienced inwardly. Now Klossowski presented Nietzsche's exposition of sensory experience as an exposition of the experience peculiar to Nietzsche, in the most troubled period of his life. This experience, moreover, Klossowski aimed to show, was wholly premonitory of Nietzsche's final state, in which he could no longer say what he was experiencing nor who he was.The environment is not simply passively impressed upon our sensory surfaces; we have to awaken, move our eyes, and focus on things and circumscribe their contours with our look, and assume a posture that enables us to advance our look. When we are born, and when we awaken each day, that is, are born again to the world, we are needy and vulnerable, to be sure; the organism is porous and needs to replenish fluids and substance lost. But our organisms are material systems that generate excess energies; it is because excess energies have to be discharged that the organism moves into the environment and depletes its substance, and needs develop. Nietzsche calls these excess energies impulses, also multiple wills to power, that is, not conscious drives to acquire power, but positive forces that expand and exist only in expansion. They seek resistances on which to discharge themselves. They push against one another and become multiple.For the phenomenology of Edmund Husserl and Maurice Merleau-Ponty, the movements of perception are intentional; they are from the first correlative with objects, or, for Merleau-Ponty, intersensory things, Gestalten agglomerated by an intrinsic intelligible essence or sensory meaning, arising against a background of potential objects or latent things. Yet every glance around us encompasses innumerable unnamed and unnameable shapes, hues, textures, slidings, illuminations. Do not in fact the excess energies of life open upon an environment of swarming sensory patterns, streamings, scintillations, and shadows which quicken life before or without acquiring meaningful identities? [End Page 60]What in classical epistemology were called sensations were the information bits these forces impressed on our sensory surfaces, resulting also in sensory affects of pleasure or pain, according to the passive conception of our sensibility. For Nietzsche the multiple impulses that confront the forces of the environment are active and not reactive; confronting what is not from the first meaningful but resists or empowers, they laugh and weep, bless and curse. And it is these multiple and conflicting impulses, not a conceptual grasp of the essences of things, that know environmental events, know the forces exerted by the multiple hues, textures, glows, savors, reflections, halos, echos, projections, and shadows scattered about us.The impulses do more than know all that; they exalt and consecrate events of the world, they put over each an azure bell of blessing, they give them a space to stand forth and to dance—"they come and offer their hands and laugh and flee—and come back."1 They give themselves form and multiple forms and dance with all things. They are Apollonian and Dionysian.What is called conscious thought is elaborated in words of the common... (shrink)

profile deforms as we move about it. As perceivers we are masters of the patterns of sensorimotor contingency that shape our perceptual interaction with the world. We expect changes in such things as apparent size, shape and color to occur as we actively explore the environment. In encountering perspective-dependent changes of this sort, we learn how things are quite apart form our particular perspective. Our possession of these skills is constitutive of our ability to see . This (...) is confirmed by the fact that we can disrupt a person. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

African literature has played a major role in changing and shaping perceptions about African people and their way of life for the longest time. Unlike western cultures that are associated with advanced forms of writing, African literature is oral in nature, meaning it has to be recited and even performed. Although Africa has an old tribal culture, African philosophy is a new and strange idea among us. Although the problem of “universality” of African philosophy actually refers to the question of (...) whether Africa has heckling of philosophy in the Western sense, obviously, the philosophy bred by Africa’s native culture must be acknowledged. Therefore, the human–computer interaction-oriented method is proposed to appreciate African literature and African philosophy. To begin with, a physical object of tablet-aid is designed, and a depth camera is used to track the user’s hand and tablet-aid and then map them to the virtual scene, respectively. Then, a tactile redirection method is proposed to meet the user’s requirement of tactile consistency in head-mounted display virtual reality environment. Finally, electroencephalogram emotion recognition, based on multiscale convolution kernel convolutional neural networks, is proposed to appreciate the reflection of African philosophy in African literature. The experimental results show that the proposed method has a strong immersion and a good interactive experience in navigation, selection, and manipulation. The proposed HCI method is not only easy to use, but also improves the interaction efficiency and accuracy during appreciation. In addition, the simulation of EEG emotion recognition reveals that the accuracy of emotion classification in 33-channel is 90.63%, almost close to the accuracy of the whole channel, and the proposed algorithm outperforms three baselines with respect to classification accuracy. (shrink)

Four-month-old infants sometimes can perceive the unity of a partly hidden object. In each of a series of experiments, infants were habituated to one object whose top and bottom were visible but whose center was occluded by a nearer object. They were then tested with a fully visible continuous object and with two fully visible object pieces with a gap where the occluder had been. Pattems of dishabituation suggested that infants perceive the boundaries of a partly hidden object by analyzing (...) the movements of its surfaces: infants perceived a connected object when its ends moved in a common translation behind the occluder. Infants do not appear to perceive a connected object by analyzing the colors and forms of surfaces: they did not perceive a connected object when its visible parts were stationary, its color was homogeneous, its edges were aligned, and its shape was simple and regular. These findings do not support the thesis, from gestalt psychology, that object perception first arises as a consequence of a tendency to perceive the simplest, most regular configuration, or the Piagetian thesis that object perception depends on the prior coordination of action. Perception of objects may depend on an inherent conception of what an object is. (shrink)

Perception is often analysed as a process in which causal events from the environment act on a subject to produce states in the mind or brain. The role of the subject is an increasing feature of neuroscientific and cognitive literature. This feature is linked to the need for an account of the normative aspects of perceptual competence. A holographic model is offered in which objects are presented to the subject classified according to rules governing concepts and encoded in brain function (...) in that form. This implies that the analysis of perception must consider not only the fact that there is an interaction between the perceiving subject and the perceived object but also that the interaction is shaped by a system of concepts which the subject uses in thought and action. (shrink)

Although perceptual grouping has been widely studied, its mechanisms remain poorly understood. We propose a neural model of grouping that, through top-down control of its circuits, implements a grouping strategy involving both a connection strategy (which elements to connect) and a selection strategy (that defines spatiotemporal properties of a selection signal to segment target elements and facilitate identification). We apply the model to a letter discrimination task that investigated relationships among uniform connectedness and the grouping principles of proximity and (...) class='Hi'>shape similarity. Participants reported whether small circles formed a global letter E or H, and these circles could be connected by a line or be embedded in a matrix of squares. In the model, a good grouping strategy for this task consists of a connection strategy that connects circles but not squares for all conditions and a selection strategy that uses a selection signal of varying size, depending on whether squares were present. Consistent with empirical results, which were verified in two replication studies, model performance is worse with distractor squares, and line connectors improve performance only in the condition with squares. Rather than relying on abstract grouping principles, we show how the empirical results can be explained in terms of observers implementing a task-dependent grouping strategy that promotes overall performance. (shrink)

How do we recognize identities between seen shapes and felt ones? Is this due to associative learning, or to intrinsic connections these sensory modalities? We can address this question by testing the capacities of newly sighted subjects to match seen and felt shapes, but only if it is shown that the subjects can see the objects well enough to form adequate visual representations of their shapes. In light of this, a recent study by R. Held and colleagues fails to (...) demonstrate that their newly sighted subjects’ inability to match seen and felt shape was due to a lack of intermodal connections rather than a purely visual deficit, as they may not have been able visually to represent 3D shape in the perspective-invariant way required for intermodal matching. However, the study could be modified in any of several ways to help avoid this problem. (shrink)

We represent shape in both sight and touch, but how do these abilities relate to one another? This issue has been discussed in the context of Molyneux's question of whether someone born blind could, upon being granted sight, identify shapes visually. Some have suggested that we might look to real‐world cases of sight restoration to illuminate the relation between visual and tactual shape representations. Here, I argue that newly sighted perceivers should not be relied on in this way (...) because they are unlikely to form the kinds of shape representations responsible for cross‐modal recognition in normally sighted perceivers. I then argue that the available evidence makes a compelling case for the type identity view, on which the visual and tactual representations responsible for cross‐modal recognition are type‐identical. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture surface as (...) flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

IN A recent work I have attempted to show that visual space tends to have a Euclidean geometrical structure only when the environment is filled with a repetitive pattern of regularly faceted objects carpentered to exhibit simple standard Euclidean shapes, and tends to have a hyperbolic structure when vision is deprived of these clues. I conclude that visual perception--and by analogy, all perception--is hermeneutic as well as causal: it responds to structures in the flow of optical energy, but the character (...) of its response is also hermeneutical, that is, it has the capacity to "read" the appropriate structures in the World, and to form perceptual judgments of the World about which these "speak." The clues that are "read" perceptually as giving a Euclidean visual space are engineered objects, such as streets and buildings with repetitive architectural elements. These scientific artifacts of human culture belong to a family of readable technologies central to the phenomenological and existential-hermeneutical analysis of natural science. (shrink)

This article examines the potential effect of organizing as a benefit corporation both on reducing transaction costs and as a container and creator of firm “identity.” It argues that to the extent that the Model Benefit Corporation Law (MBCL) creates a permissive environment—a big tent that can accommodate a diverse set of investors—it diminishes the power of the benefit organizational form to shape a unique benefit identity. Conversely, to the extent the MBCL creates a schema of mandatory defaults (...) that unduly impedes contracting, it will discourages adoption by entrepreneurs, and risks becoming a minor aberration—perhaps one of many—on the organizational landscape. The article suggests that further empirical research is needed to determine which firms are choosing the benefit corporation form; how the benefit corporation identity may have influenced that decision; and how those firms themselves affect perceptions of benefit identity by the larger community. (shrink)

This article examines the potential effect of organizing as a benefit corporation both on reducing transaction costs and as a container and creator of firm “identity.” It argues that to the extent that the Model Benefit Corporation Law (MBCL) creates a permissive environment—a big tent that can accommodate a diverse set of investors—it diminishes the power of the benefit organizational form to shape a unique benefit identity. Conversely, to the extent the MBCL creates a schema of mandatory defaults (...) that unduly impedes contracting, it will discourages adoption by entrepreneurs, and risks becoming a minor aberration—perhaps one of many—on the organizational landscape. The article suggests that further empirical research is needed to determine which firms are choosing the benefit corporation form; how the benefit corporation identity may have influenced that decision; and how those firms themselves affect perceptions of benefit identity by the larger community. (shrink)

In exploring corporate perceptions of the business case for supplier diversity, this paper reports on a cross-national study of large purchasing organisations that had introduced, or were in the process of introducing, purchasing initiatives aimed at ethnic minority businesses. The research investigates how LPOs portray the benefits of this form of socially responsible purchasing and suggests a business case construct based on four component elements. It also highlights a number of contextual factors that appear to have shaped business case (...) rationales. The paper concludes with a discussion of issues of cost and contingent influences affecting SD programmes and points to possible areas for future research. (shrink)

Perception is often analysed as a process in which causal events from the environment act on a subject to produce states in the mind or brain. The role of the subject is an increasing feature of neuroscientific and cognitive literature. This feature is linked to the need for an account of the normative aspects of perceptual competence. A holographic model is offered in which objects are presented to the subject classified according to rules governing concepts and encoded in brain function (...) in that form. This implies that the analysis of perception must consider not only the fact that there is an interaction between the perceiving subject and the perceived object but also that the interaction is shaped by a system of concepts which the subject uses in thought and action. (shrink)

Demonstrates the unique, pervasive, and overwhelmingly important role of other people within our lived experience. Drawing on the original phenomenological work of Maurice Merleau-Ponty, Edmund Husserl, Simone de Beauvoir, and John Russon, as well as recent research in child psychology, The Other in Perception argues for perception’s inherently existential significance: we always perceive a world and not just objective facts. The world is the rich domain of our personal and interpersonal lives, and central to this world is the role of (...) other people. We are “paired” with others such that our perception is really the enactment of a coinhabiting of a shared world. These relations with others shape the very way in which we perceive our world. Susan Bredlau explores two uniquely formative domains in which our pairing relations with others are particularly critical: childhood development and sexuality. It is through formative childhood experience that the essential, background structures of our world are instituted, which has important consequences for our developed perceptual life. Sexuality is an analogous domain of formative intersubjective experience. Taken as a whole, Bredlau demonstrates the unique, pervasive, and overwhelmingly important role of other people within our lived experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James J. Gibson's Ecological Approach:Perceiving What ExistsWilliam M. Mace (bio)Environmental Philosophy and EpistemologyThe purpose of this paper is to help an audience attracted to environmental philosophy get to the core of Gibson's system in a compact form and to appreciate the necessity for an account of the environment in epistemology. I hope to show that Gibson's is a consistent and scientifically progressive account of knowing that gives the (...) environment its due and that this is not a simple matter of fiat but a call to extended scientific investigation. I want to stress that Gibson's work is scientifically progressive in the sense that it has consistently opened new avenues for research. If one could be assured tomorrow that Gibson was correct and his critics wrong, the ecological psychology enterprise would not have to be shut down with nothing left to do. The goal of the enterprise, certainly for Gibson, was not to be declared a winner but to open doors for discovery. Because Gibson has developed a theory of perceiving the environment, it would be worth exploring as an important topic for environmental philosophers covering a wide range of issues. It offers an intriguing, environmentally based, grounding for epistemology; it offers ways to deal [End Page 195] with practical issues within "pure science"; and it is open to reorganizing ways to conceptualize problems beyond epistemology.Gibson developed a richly articulated system that grew steadily over a period of 50 years, 1929 to 1979, which he devoted to "puzzling over" the "perplexities" of vision (1979, xiii). From Gibson's standpoint, knowledge begins with perception, and perception is perceiving the environment. The environment, for Gibson, is at least as essential as the brain to the existence and exercise of "the mind."As an empiricist, knowledge is based on perception for Gibson. But perception, at root, turns out to be perception of the environment. Entities like sense data and representations become "after the fact" curiosities for Gibson, and have no role to play in the foundations of perceptual experience and, a fortiori, knowledge. If Gibson is correct, then scientific accounts of perception must converge on environmental perception. A philosopher whose primary focus is epistemology, and who works within Gibson's system, would perforce be an environmental philosopher—not (first) because of a special concern for the environment, but because an adequate appreciation of relevant facts requires it. Of great importance to environmental philosophers is that Gibson not only provides an account of perceiving grounded in access to environmental properties, but he establishes a basis for perceiving this particular world as a specific arrangement of surfaces. The world we perceive, according to Gibson, is a connected, public world that we share. It is, again, the world, the logical individual world and not an abstraction. This is not an account of the experience of abstract shapes, distances, and motions. It is a system in which travelers can visit the pyramids and in which I can trip over your garbage.Is there a symmetric direction of influence? Just as a commitment to understanding knowledge scientifically and philosophically can lead one to focal considerations of the environment, could a deep concern for the environment as a value lead to the serious study of perception and, more broadly, epistemology? It seems entirely plausible. Gibson's is a "yin and yang" system of scientific complementarities beginning with animal and environment and extending to knowledge and value (in his concept of affordance). In each complementarity, the terms are differentiable but not entirely independent. Animals and their environments are different entities and should not be confused with one another, but they also are so [End Page 196] mutually dependent that one should not imagine a thorough account of one without the other. In like manner, objects and value (first through use) are not independently comprehensible in Gibson's system. This is a theme worthy of careful examination of detailed examples. I am not doing that in this paper, but hope that enough of the flavor of Gibson's work will come through to allow a reader to understand how one might be steered to epistemology from an initial concern with environment and values and... (shrink)

Exploring Textual Action questions how we analyse works of art after the performative turn and shows how the interplay of performativity (textual action), space and topography, and the converging of genres and art forms is essential in modern drama, theatre, prose fiction, poetry and film. The volume also fosters a keen concern for the development of congenial theory. Its 14 detailed essays analyse works of art ranging from Balzac, Melville and George Eliot, to Breton, Kafka, Benjamin, Blixen and Woolf; and (...) from W.C. Williams, Bresson and Scorsese, to Sarraute, Duras, Reygadas, Dumont and Waltz. The approach of these studies discloses the art works as creative and dynamic utterances with active and shaping forces so powerful, and consequential, that they have the potential to transform human perception and blur clear distinctions between art and "real" life. Using an alternative and dynamic method and suggesting a direction towards the detailed analysis of literature, art, media and culture, Exploring Textual Action addresses current debates within the humanities. (shrink)

For scatterplots with gaussian distributions of dots, the perception of Pearson correlation r can be described by two simple laws: a linear one for discrimination, and a logarithmic one for perceived magnitude (Rensink & Baldridge, 2010). The underlying perceptual mechanisms, however, remain poorly understood. To cast light on these, four different distributions of datapoints were examined. The first had 100 points with equal variance in both dimensions. Consistent with earlier results, just noticeable difference (JND) was a linear function of the (...) distance away from r = 1, and the magnitude of perceived correlation a logarithmic function of this quantity. In addition, these laws were linked, with the intercept of the JND line being the inverse of the bias in perceived magnitude. Three other conditions were also examined: a dot cloud with 25 points, a horizontal compression of the cloud, and a cloud with a uniform distribution of dots. Performance was found to be similar in all conditions. The generality and form of these laws suggest that what underlies correlation perception is not a geometric structure such as the shape of the dot cloud, but the shape of the probability distribution of the dots, likely inferred via a form of ensemble coding. It is suggested that this reflects the ability of observers to perceive the information entropy in an image, with this quantity used as a proxy for Pearson correlation. (shrink)