Mark Johnson argues in favour of embodied experience as the basis for knowledge. An important implication of his analysis is that these experiences instigate pervasive metaphorical systems. Johnson 's argument involves reductionist problems, chicken-and-egg problems and, at times, unclear criteria for what counts as a basic experience and a metaphor.

Pictures are tactile as well as visual. Outline pictures stand for the same kinds of surface features in touch and vision. Vantage point geometry is used by blind and sighted perceivers in pictures. Limits of pictures may be comparable for the blind and sighted, and transcended in useful ways. Introduction In keeping with a conference on the multimodality of human communication, the purpose of this paper is to show that some aspects of pictures are tangible as well as visual. Many (...) means of communication are often considered to be exclusively visual or auditory, but the exclusionary view requires radical revision, the evidence from pictures tells us. (shrink)

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings were more related to Difficulty (...) ratings than Movement ratings. (shrink)

In a case-history, Ben, a university-graduate blind adult, is shown to draw a cube as if it were folded out, but with slim rectangles for the sides around a central square. This form is drawn by sighted 8-year-olds. It might involve foreshortening and parallel projection, despite the presence of more sides than would be present in parallel projection in a single direction. Also, Ben drew a glass’s brim as both a straight line and as an ellipse, a form common in (...) drawings by sighted 8-year-olds that may include the circular brim foreshortened to an ellipse in a ¾ view. In several drawings made later in the testing session Ben only showed aspects of the depicted object facing one direction. In elevation and plan drawings, he showed aspects facing to the side of the object or above the object. Also, Ben’s use of foreshortening advanced in sophistication in the testing session. We hypothesize that the blind and the sighted are on the same drawing developmental trajectory. (shrink)