Abstract: In this paper I consider recent attempts to establish that the geometry of visual experience is a spherical geometry. These attempts, offered by Gideon Yaffe, James van Cleve and Gordon Belot, follow Thomas Reid in arguing for an equivalency of a geometry of ‘visibles’ and spherical geometry. I argue that although the proposed equivalency is successfully established by the strongest form of the argument, this does not warrant any conclusion about the geometry (...) of visual experience. I argue, firstly, that the resistance of this contemporary argument to empirical considerations counts against its plausibility. Moreover, I argue that the contemporary approach provides no compelling reason for supposing that the geometry offered as the geometry of ‘visibles’ is the correct geometrical description of visual experience. (shrink)

Some recently popular accounts of perception account for the phenomenal character of perceptual experience in terms of the qualities of objects. My concern in this paper is with naturalistic versions of such a phenomenal externalist view. Focusing on visual spatial perception, I argue that naturalistic phenomenal externalism conflicts with a number of scientific facts about the geometrical characteristics of visual spatial experience.

Thomas Reid's Geometry of Visibles, according to which the geometrical properties of an object's perspectival appearance equal the geometrical properties of its projection on the inside of a sphere with the eye in its centre allows for two different interpretations. It may (1) be understood as a theory about phenomenal visual space – i.e. an account of how things appear to human observers from a certain point of view – or it may (2) be seen as a mathematical (...) model of viewpoint-relative but mind-independent relational properties of objects. This paper makes a systematic and a historical claim. I shall argue, first, that given certain features of the human visual system phenomenal visual space differs in several aspects from Reidean visual space. Secondly, I suggest that, since Reid was aware of some of these empirical facts, we should interpret Reid as endorsing the second interpretation of the Geometry of Visibles. (shrink)

Geometrical intuitions spontaneously drive visuo-spatial reasoning in human adults, children and animals. Is their emergence intrinsically linked to visual experience, or does it reflect a core property of cognition shared across sensory modalities? To address this question, we tested the sensitivity of blind-from-birth adults to geometrical-invariants using a haptic deviant-figure detection task. Blind participants spontaneously used many geometric concepts such as parallelism, right angles and geometrical shapes to detect intruders in haptic displays, but experienced difficulties with symmetry and (...) complex spatial transformations. Across items, their performance was highly correlated with that of sighted adults performing the same task in touch (blindfolded) and in vision, as well as with the performances of uneducated preschoolers and Amazonian adults. Our results support the existence of an amodal core-system of geometry that arises independently of visual experience. However, performance at selecting geometric intruders was generally higher in the visual compared to the haptic modality, suggesting that sensory-specific spatial experience may play a role in refining the properties of this core-system of geometry. (shrink)

The concept of geometry may evoke a world of pure platonic shapes, such as spheres and cubes, but a deeper understanding of visual experience demands insight into the perceptual organization of naturalistic form. Japanese gardens excel as designed environments where the complex fractal geometry of nature has been simplified to a structural core that retains the essential properties of the natural landscape, thereby presenting an ideal opportunity for investigating the geometry and perceptual significance of such (...) naturalistic characteristics. Here, fronto-parallel perspective, asymmetrical structuring of the ground plane, spatial arrangement of garden elements, tuning of textural qualities and choice of naturalistic form, are presented as a set of physical features that facilitate a systematic analysis of Japanese garden design per se, as well as the geometry of the particular naturalistic features that it aims to enhance. Comparison with Western landscape design before and after contact between Western and Eastern hemispheres illustrates the degree of naturalness achieved in the Japanese garden, and suggests how classical Western landscape design generally differs in this regard. It further reveals how modern Western gardens culminate in a different naturalistic geometry, thus also a distinctly different vision of the natural landscape, even if these designs were greatly influenced by the gardens of China and Japan. (shrink)

In this paper I contrast the geometric structure of phenomenal visual space with that of photographic images. I argue that topologically both are two-dimensional and that both involve central projections of scenes being depicted. However, I also argue that the metric structures of the spaces differ inasmuch as two types of “apparent distortions”—marginal distortion in wide-angle photography and close-up distortions—which occur in photography do not occur in the corresponding visual experiences. In particular, I argue that the absence of (...) marginal distortions in vision is evidence for a holistic metric of visual space that is spherical, and that the absence of close-up distortions shows that the local metric structure possesses a dynamic variable curvature which is dependent upon the distance away of objects being viewed at a given time. (shrink)

Picture geometry is often regarded as an area of technical knowledge that accompanies or provides useful information for basic research on visual culture and almost never as a methodological one. Despite the historical and conceptual connections between mathe­matics and the visual, even a basic geometric competence is by no means a common of image and visual culture researchers. At the same time, the overwhelming majority of this kind of work belong to the field of technical knowledge, (...) the history of mathemat­ics, or positivism based theories; in other words, they do not address the most important issues for humanities research. Rare non-technical works in this area do not find due recognition and dissemination among a wider community of specialists. The article offers the main result of the research, the subject of which was pictorial depth. Pictorial depth is the version of the specific experience of distance with which the image is traditionally associated. The problem of distance is a classical area of philosophical reflection on the image. The article presents an attempt to geometrically express one of its versions, namely pictorial and visual depth. At the same time, the important dimension of inacces­sibility and heterogeneity is preserved, that is, the experience of depth is not reduced to visual data or the literal geometry of a flat picture. By constructing a geometrically object that can be considered depth, it is possible to extract intuitively non-obvious properties that would not be available through direct analysis of experience and other methods of naked reflection. The article presents only some of the findings obtained during the study. (shrink)

Un enjeu majeur pour les recherches actuelles dans les sciences de la vision consiste à mettre au point une approche dépendante de l’observateur – une science des apparences visuelles située au-delà de leur véridicité. L’espace dont nous faisons l’expérience subjective est en réalité hautement « illusoire», et les éléments de base du champ visuel sont des structures qualitatives, contextuelles et relationnelles, et non des indices métriques et dépendants du stimulus. Sur la base de nombreux résultats disponibles dans la littérature traitant (...) de la manière dont fonctionnent les divers constituants de l’espace (formes, surfaces, etc.), l’article décrit les éléments qualitatifs de base d’un tel espace et pose la question de la « géométrie» des apparences visuelles. Il formule enfin un ensemble de propositions pour d’éventuelles recherches poursuivant l’examen de l’espace visuel d’un point de vue expérimental. (shrink)

Un enjeu majeur pour les recherches actuelles dans les sciences de la vision consiste à mettre au point une approche dépendante de l’observateur – une science des apparences visuelles située au-delà de leur véridicité. L’espace dont nous faisons l’expérience subjective est en réalité hautement « illusoire», et les éléments de base du champ visuel sont des structures qualitatives, contextuelles et relationnelles, et non des indices métriques et dépendants du stimulus. Sur la base de nombreux résultats disponibles dans la littérature traitant (...) de la manière dont fonctionnent les divers constituants de l’espace, l’article décrit les éléments qualitatifs de base d’un tel espace et pose la question de la « géométrie» des apparences visuelles. Il formule enfin un ensemble de propositions pour d’éventuelles recherches poursuivant l’examen de l’espace visuel d’un point de vue expérimental. (shrink)

A meta-analysis and an experiment show that the degree of compression of the in-depth dimension of visual space relative to the frontal dimension increases quickly as a function of the distance between the stimulus and the observer at first, but the rate of change slows beyond 7 m from the observer, reaching an apparent asymptote of about 50 %. In addition, the compression of visual space is greater for monocular and reduced cue conditions. The pattern of compression of (...) the in-depth dimension as a function of distance is similar to the ratio of in-depth to frontal visual angles of stimuli, but is not as extreme as this ratio would suggest, implying that observers are incapable of fully ignoring size information provided by cues to depth. Size and distance judgments may be described by an Affine transformation of physical space; however, the compression parameter in this model changes as a function of distance from the observer and other experimental conditions. (shrink)

Evolution and geometry generate complexity in similar ways. Evolution drives natural selection while geometry may capture the logic of this selection and express it visually, in terms of specific generic properties representing some kind of advantage. Geometry is ideally suited for expressing the logic of evolutionary selection for symmetry, which is found in the shape curves of vein systems and other natural objects such as leaves, cell membranes, or tunnel systems built by ants. The topology and (...) class='Hi'>geometry of symmetry is controlled by numerical parameters, which act in analogy with a biological organism’s DNA. The introductory part of this paper reviews findings from experiments illustrating the critical role of two-dimensional (2D) design parameters, affine geometry and shape symmetry for visual or tactile shape sensation and perception-based decision making in populations of experts and non-experts. It will be shown that 2D fractal symmetry, referred to herein as the “symmetry of things in a thing”, results from principles very similar to those of affine projection. Results from experiments on aesthetic and visual preference judgments in response to 2D fractal trees with varying degrees of asymmetry are presented. In a first experiment (psychophysical scaling procedure), non-expert observers had to rate (on a scale from 0 to 10) the perceived beauty of a random series of 2D fractal trees with varying degrees of fractal symmetry. In a second experiment (two-alternative forced choice procedure), they had to express their preference for one of two shapes from the series. The shape pairs were presented successively in random order. Results show that the smallest possible fractal deviation from “symmetry of things in a thing” significantly reduces the perceived attractiveness of such shapes. The potential of future studies where different levels of complexity of fractal patterns are weighed against different degrees of symmetry is pointed out in the conclusion. (shrink)

Visual space can be distinguished from physical space. The first is found in visual experience, while the second is defined independently of perception. Theorists have wondered about the relation between the two. Some investigators have concluded that visual space is non-Euclidean, and that it does not have a single metric structure. Here it is argued that visual space exhibits contraction in all three dimensions with increasing distance from the observer, that experienced features of this contraction (...) are not the same as would be the experience of a perspective projection onto a fronto-parallel plane, and that such contraction is consistent with size constancy. These properties of visual space are different from those that would be predicted if spatial perception resulted from the successful solution of the inverse problem. They are consistent with the notion that optical constraints have been internalized. More generally, they are also consistent with the notion that visual spatial structures bear a resemblance relation to physical spatial structures. This notion supports a type of representational relation that is distinct from mere causal correspondence. The reticence of some philosophers and psychologists to discuss the structure of phenomenal space is diagnosed in terms of the simple materialism and the functionalism of the 1970s and 1980s. (shrink)

In the philosophy of perception, direct realism has come into vogue. Philosophical authors assert and assume that what their readers want, and what anyone should want, is some form of direct realism. There are disagreements over precisely what form this direct realism should take. The majority of positions in favor now offer a direct realism in which objects and their material or physical properties constitute the contents of perception, either because we have an immediate or intuitive acquaintance with those objects (...) and properties, or because our perceptual states have informational content that represents the properties of those objects (and which is not itself an object of perception and has no specifically subjective aspect). This paper considers various forms of perceptual realism, including, for purposes of comparison, the largely abandoned indirect or representative realism. After surveying the variety of perceptual realisms and considering their various commitments, I introduce some considerations concerning the phenomenology of visual space that cause trouble for most forms of direct realism. These considerations pertain to the perception of objects in the distance and, secondarily, to the perception of shapes at a slant. I argue that one of the lesser known varieties of perceptual realism, critical direct realism, can meet the challenges offered by the facts of spatial perception. (shrink)

Drawing on work done by Helmholtz, I argue that Reid was in no position to infer that objects appear as if projected on the inner surface of a sphere, or that they have the geometric properties of such projections even though they do not look concave towards the eye. A careful consideration of the phenomena of visual experience, as further illuminated by the practice of visual artists, should have led him to conclude that the sides of visible (...) appearances either look straight, in which case their angles appear to approximate Euclidean measures, or their angles do not appear to approximate Euclidean measures for straight line figures, in which case their sides do not look straight. (shrink)

What do we see? We are visually conscious of colors and shapes, but are we also visually conscious of complex properties such as being John Malkovich? In this book, Susanna Siegel develops a framework for understanding the contents of visual experience, and argues that these contents involve all sorts of complex properties. Siegel starts by analyzing the notion of the contents of experience, and by arguing that theorists of all stripes should accept that experiences have contents. She (...) then introduces a method for discovering the contents of experience: the method of phenomenal contrast. This method relies only minimally on introspection, and allows rigorous support for claims about experience. She then applies the method to make the case that we are conscious of many kinds of properties, of all sorts of causal properties, and of many other complex properties. She goes on to use the method to help analyze difficult questions about our consciousness of objects and their role in the contents of experience, and to reconceptualize the distinction between perception and sensation. Siegel's results are important for many areas of philosophy, including the philosophy of mind, epistemology, and the philosophy of science. They are also important for the psychology and cognitive neuroscience of vision. (shrink)

The transparency of visual experience is a widely held and important thesis in the philosophy of perception. Critical discussion of transparency has focused on visual experiences, such as the experience of visual blur that are taken to be counter examples to transparency. Here, I consider a novel objection to transparency that does not depend on intuitions about examples. The objection is that if transparency is true then we cannot explain our ability to think about our (...) visual experiences as such. In response to this objection, I develop an account of how we are able to think about our own visual experiences as such that is compatible with transparency. (shrink)

When we watch movies, or are tricked by a trompe-l’oeil painting, we seem to be visually representing possible worlds; often non-actual possible worlds. This suggests that we really can visually represent possible worlds. The suggested claim is refined and developed here into a theory of visual experience that holds that all visual experiences, both veridical and non-veridical, represent possible worlds, many of which are non-actual.

The human experience is shaped by information from different perceptual channels, but it is still debated whether and how differential experience influences language use. To address this, we compared congenitally blind, blindfolded, and sighted people's descriptions of the same motion events experienced auditorily by all participants (i.e., via sound alone) and conveyed in speech and gesture. Comparison of blind and sighted participants to blindfolded participants helped us disentangle the effects of a lifetime experience of being blind versus (...) the task-specific effects of experiencing a motion event by sound alone. Compared to sighted people, blind people's speech focused more on path and less on manner of motion, and encoded paths in a more segmented fashion using more landmarks and path verbs. Gestures followed the speech, such that blind people pointed to landmarks more and depicted manner less than sighted people. This suggests that visual experience affects how people express spatial events in the multimodal language and that blindness may enhance sensitivity to paths of motion due to changes in event construal. These findings have implications for the claims that language processes are deeply rooted in our sensory experiences. (shrink)

My purpose is to take a close look at the nature of visual content. I discuss the view that visual experiences have only existential contents, the view that visual experiences have either singular or gappy contents, and the view that visual experiences have multiple contents. I also consider a proposal about visual content inspired by Kaplan's well known theory of indexicals. I draw out some consequences of my discussion for the thesis of intentionalism with respect (...) to the phenomenal character of visual experience. (shrink)

My purpose is to take a close look at the nature of visual content. I discuss the view that visual experiences have only existential contents, the view that visual experiences have either singular or gappy contents, and the view that visual experiences have multiple contents. I also consider a proposal about visual content inspired by Kaplan's well known theory of indexicals. I draw out some consequences of my discussion for the thesis of intentionalism with respect (...) to the phenomenal character of visual experience. (shrink)

How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense-perceptually given while the subject is occupying the spatial perspective on the object that they currently are—I call this the horizonality of visual (...) experience. Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

Abstract: How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense- perceptually given while the subject is occupying the spatial perspective on the object that they currently are – I call this the (...) horizonality of visual experience. Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

The on-going debate over the ‘admissible contents of perceptual experience’ concerns the range of properties that human beings are directly acquainted with in perceptual experience. Regarding vision, it is relatively uncontroversial that the following properties can figure in the contents of visual experience: colour, shape, illumination, spatial relations, motion, and texture. The controversy begins when we ask whether any properties besides these figure in visual experience. We argue that ‘ensemble properties’ should be added to (...) the list of visually admissible properties. Ensemble properties are features that belong to a set of perceptible objects as a whole as opposed to the individuals that constitute that set. They include such features as the mean size of an array of shapes or the average emotional expression of an array of faces. Recent work in vision science has yielded compelling evidence that the visual system routinely encodes such properties. We argue that epistemological considerations provide strong reasons to think that these properties figure in visual experience. Judgements about ensemble properties are immediately warranted by our perceptual experience, and the only plausible way that a perceptual experience could confer this warrant is if it confers awareness of ensemble properties. (shrink)

red and round. According to common sense, the red, round thing we see is the tomato itself. When we have a hallucinatory vision of a tomato, however, there may be present to us no red and round phys- ical object. Still, we use the words 'red' and 'round' to describe that situation as well, this time applying them to the visual experience itself. We say that we have a red, round visual image, or a visual (...) class='Hi'>experience of a red disk, or some such. Because we see physical objects far more often than we hallucinate, we apply terms for color and shape to physical objects far more often than to visual experiences. Moreover, different theories of perception explain in different ways the applications such terms have to physical objects and to visual experiences. But whatever their frequency and explanation, it seems clear that both sorts of application occur. (shrink)

The usual visual experiences possess a perspectival phenomenology as they seem to present objects from a certain perspective. Nevertheless, it is not obvious how to characterise experiential content determining such phenomenology. In particular, while there are many works investigating perspectival properties of experienced objects, a question regarding how subject is represented in visual perspectival experiences attracted less attention. In order to address this problem, I consider four popular phenomenal intuitions regarding perspectival experiences and argue that the major theories (...) of perspectival experiences do not account for all of them. Relying on these observations, I show how a theory which accommodates all these intuitions can be developed by (a) recognising that visual perspectival experiences are, in fact, multimodal visuo-bodily experiences and (b) distinguishing between egocentric and structural contents. (shrink)

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

Empirical research suggests that motive states modulate perception affecting perceptual processing either directly, or indirectly through the modulation of spatial attention. The affective modulation of perception occurs at various latencies, some of which fall within late vision, that is, after 150 ms. poststimulus. Earlier effects enhance the C1 and P1 ERP components in early vision, the former enhancement being the result of direct emotive effects on perceptual processing, and the latter being the result of indirect effects of emotional stimuli on (...) perceptual processing that automatically capture exogenous attention. Other research suggests that emotional stimuli do not capture attention automatically but attentional capture is conditioned on the context. Since context dependent effects are first registered with the elicitation of N1 ERP component about 170 ms. poststimulus, emotional stimuli affect late vision. However, the early affective modulation of early vision by emotive states threatens the cognitive impenetrability of early vision since emotive states are associated with learning and past experiences. I argue that the emotive modulation of early vision does not entail the cognitive penetrability of early vision. First, the early indirect affective modulation of P1 is akin to the effects of spatial pre-cueing by non-emotive cues and these preparatory effects do not signify the cognitive impenetrability of early vision. Second, because the direct modulation of C1 signifies an initial, involuntary appraisal of threat in the incoming stimulus that precedes any cognitive states. (shrink)

Blindsight is a kind of residual vision found in people with lesions to V1. Subjects with blindsight typically report no visual awareness, but they are nonetheless able to make above-chance guesses about the shape, location, color and movement of visual stimuli presented to them in their blind field. A different kind of blindsight, sometimes called type 2 blindsight, is a kind of residual vision found in patients with V1 lesions in the presence of some residual awareness. Type 2 (...) blindsight differs from ordinary visual experience in lacking the particularity, transparency and fine-grainedness often taken to be essential to visual experience, at least in veridical cases. I argue that the case of type 2 blindsight provides a counterexample to the view that these characteristics are essential to veridical visual experience and that this gives us reason to resist the view that visual experience is essentially a perceptual relation to external objects. In the second part of the paper I argue that the case of type 2 blindsight yields important insights into the effects of attentional modulation on perceptual content and that cases of attentional modulation of appearance are not at odds with the view that the phenomenology of visual experience flows from its content. (shrink)

Although the sensorimotor account is a significant step forward, it cannot explain experiences of entoptic phenomena that violate normal sensorimotor contingencies but nonetheless are perceived as visual. Nervous system structure limits how they can be interpreted. Neurophysiology, combined with a sensorimotor theory, can account for space constancy by denying the existence of permanent representations of states that must be corrected or updated.

As the word “optics” was understood from antiquity into and beyond the early modern period, it did not mean simply the physics and geometry of light, but meant the “theory of vision” and included what we should now call physiological and psychological aspects. From antiquity, these aspects were subject to geometrical analysis. Accordingly, the geometry of visual experience has long been an object of investigation. This chapter examines accounts of size and distance perception in antiquity (Euclid (...) and Ptolemy) and the Middle Ages (Ibn al-Haytham), before turning to "natural geometry" in Kepler and Descartes. It finds a purely mechanical realization of natural geometry in Descartes (primarily in his L'Homme, 1664), in which he conceives states of the visual system as varying in accordance with distance, much as his geometrical compasses vary their spatial relations in accordance with geometrical proportions. This reading challenges the notion that a two-dimensional sensation (without three-dimensional phenomenality) was universally accepted prior to the nineteenth century by positing a direct psychophysiological account of the experience of distance in Descartes. It thereby challenges the interpretations of Descartes on natural geometry of George Berkeley, Nancy Maull, Margaret Wilson, Erwin Panofsky, and Jonathan Crary. (shrink)

Not all research in machine consciousness aims to instantiate phenomenal states in artefacts. For example, one can use artefacts that do not themselves have phenomenal states, merely to simulate or model organisms that do. Nevertheless, one might refer to all of these pursuits -- instantiating, simulating or modelling phenomenal states in an artefact -- as 'synthetic phenomenality'. But there is another way in which artificial agents (be they simulated or real) may play a crucial role in understanding or creating consciousness: (...) 'synthetic phenomenology'. Explanations involving specific experiential events require a means of specifying the contents of experience; not all of them can be specified linguistically. One alternative, at least for the case of visual experience, is to use depictions that either evoke or refer to the content of the experience. Practical considerations concerning the generation and integration of such depictions argue in favour of a synthetic approach: the generation of depictions through the use of an embodied, perceiving and acting agent, either virtual or real. Synthetic phenomenology, then, is the attempt to use the states, interactions and capacities of an artificial agent for the purpose of specifying the contents of conscious experience. This paper takes the first steps toward seeing how one might use a robot to specify the non- conceptual content of the visual experience of an (hypothetical) organism that the robot models. (shrink)

This chapter provides an overview of the phenomenology of size perception and the use of instructions to tease apart phenomenal and cognitive aspects. It develops his own recent proposals concerning the geometry of visual space. The chapter proposes that visual space is contracted along the lines of sight. This contraction would explain the apparent convergence of railway tracks, but without invoking a “proximal mode” experience. Parallel railway tracks receding into the distance project converging lines onto the (...) retinas. A true proximal mode representation would show these lines converging as if in a vertical plane. But we experience them as converging while also receding in depth along the ground. The chapter suggests that this calls for a third geometry of visual space, intermediate between a linear perspective projection and full phenomenal constancy. The chapter attributes reports of full constancy to cognitive factors. size perception, visual space, geometry, lines of sight, proximal mode, phenomenal constancy. (shrink)

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

In this paper, I argue that certain perceptual relations are represented in visual experience.

In this paper I argue that causal relations between objects are represented in visual experience, and contrast my argument and its conclusion with Michotte's results from the 1960's.