Many of Margaret Cavendish’s criticisms of Thomas Hobbes in the Philosophical Letters (1664) relate to the disorder and damage that she holds would result if Hobbesian pressure were the cause of visual perception. In this paper, I argue that her “two men” thought experiment in Letter IV is aimed at a different goal: to show the explanatory potency of her account. First, I connect Cavendish’s view of visual perception as “patterning” to the “two men” thought experiment (...) in Letter IV. Second, I provide a potential reply on Hobbes’s behalf that appeals to physiological differences between perceivers’ sense organs, drawing upon Hobbes’s optics in De homine. Third, I argue that such a reply would misunderstand Cavendish’s objective of showing the limited explanatory resources available in understanding visual perception as pressing when compared to her view of visual perception as patterning. (shrink)

The question of whether cognition can influence perception has a long history in neuroscience and philosophy. Here, we outline a novel approach to this issue, arguing that it should be viewed within the framework of top-down information-processing. This approach leads to a reversal of the standard explanatory order of the cognitive penetration debate: we suggest studying top-down processing at various levels without preconceptions of perception or cognition. Once a clear picture has emerged about which processes have influences (...) on those at lower levels, we can re-address the extent to which they should be considered perceptual or cognitive. Using top-down processing within the visual system as a model for higher-level influences, we argue that the current evidence indicates clear constraints on top-down influences at all stages of information processing; it does, however, not support the notion of a boundary between specific types of information-processing as proposed by the cognitive impenetrability hypothesis. (shrink)

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception." However, the images they produced and presented for this purpose were strongly mediated. By means of specifically designed instruments, such (...) as the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

Emotionally arousing events reach awareness more easily and evoke greater visual cortex activation than more mundane events. Recent studies have shown that they are also perceived more vividly and that emotionally enhanced perceptual vividness predicts memory vividness. We propose that affect-biased attention (ABA) – selective attention to emotionally salient events – is an endogenous attentional system tuned by an individual's history of reward and punishment. We present the Biased Attention via Norepinephrine (BANE) model, which unifies genetic, neuromodulatory, neural (...) and behavioural evidence to account for ABA. We review evidence supporting BANE's proposal that a key mechanism of ABA is locus coeruleus–norepinephrine (LC–NE) activity, which interacts with activity in hubs of affective salience networks to modulate visual cortex activation and heighten the subjective vividness of emotionally salient stimuli. We further review literature on biased competition and look at initial evidence for its potential as a neural mechanism behind ABA. We also review evidence supporting the role of the LC–NE system as a driving force of ABA. Finally, we review individual differences in ABA and memory including differences in sensitivity to stimulus category and valence. We focus on differences arising from a variant of the ADRA2b gene, which codes for the alpha2b adrenoreceptor as a way of investigating influences of NE availability on ABA in humans. (shrink)

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

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak (1828-1873) as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond (1818-1896) and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception (unmittelbare Anschauung)." However, the images they produced and presented for this purpose were strongly mediated. By means of (...) specifically designed instruments, such as the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

The paper analyzes a complex of methodological problems associated with the visual turn in modern historical science, as well as the peculiarities of the perception of the historical past and the organization of history teaching in modern culture and in the system of historical education. The analysis evaluates the prospects of already existing approaches in philosophy in the development of problems of the visual. The ideas of Maurice Merleau-Ponty on the phenomenology of perception, with his (...) emphasis on the “physical presence” of a body in the process of perception, are proposed as a significant source for the reflection on the visual. The involvement of visual elements in the historical narrative, as shown in the article, complicates the methodology and practice of source criticism, while at the same time allowing historical science to make its contribution to understanding the image as such. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text (...) but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

'The Aestheticization of History and the Butterfly Effect: Visual Arts Series' introduces the audience to philosophical concepts that broach the beginning of the history of Western thought in Plato and Aristotle to that of more modern thought in the theoretician Jacques Rancière in which the main conceptual framework of this anthology is predicated. The introduction is mainly concerned with Rancière's concept of the distribution of the sensible, which is the arrangement of things accessible to our senses, what (...) we experience in real-time and space- compartmentalization and categorization of all things. These things do not just involve tangible items, but audible speech, written language, and visibilities. Rancière's theory of the regimes of art is undertaken as the unfolding of the distribution. Such is evoked in the various genres of visual art forms, from two-dimensional paintings to three-dimensional sculptures and architectures. Understanding the aesthetic regime of art is crucial for grasping how art performs time travel. One way of understanding this phenomenon is in terms of embodied philosophy imbued vis-à-vis art forms, which are subsequently challenged by contemporary artists. The contributing essays examine these reiterations, reevaluations-performances. Aesthetics is a term deriving from the 18th-century European Enlightenment. It is here that aesthetics as the study of beauty is probed for its political potential after the failure of the French Revolution. Many major thinkers during this period signed on to the aesthetic moment, recognizing that Reason in its present state failed to develop humankind beyond barbarism. J.E.B. Stuart's statue is part of an equestrian theme that approximates the Western canon of power and class in the pursuit of domination. But such power and domination will be dethroned in the restaging of history and the redistribution of said canon. This reimagining of the form not only alters perception but constitutes a new narrative. (shrink)

Flickering light induces visual hallucinations in human observers. Despite a long history of the phenomenon, little is known about the dependence of flicker-induced subjective impressions on the flicker frequency. We investigate this question using Ganzfeld stimulation and an experimental paradigm combining a continuous frequency scan with a focus on re-occurring, whole percepts. On the single-subject level, we find a high degree of frequency stability of percepts. To generalize across subjects, we apply two rating systems, a set of complex (...) percept classes derived from subjects’ reports and an enumeration of elementary percept features, and determine distributions of occurrences over flicker frequency. We observe a stronger frequency specificity for complex percept classes than elementary percept features. Comparing the similarity relations among percept categories to those among frequency profiles, we observe that though percepts are preferentially induced by particular frequencies, the frequency does not unambiguously determine the experienced percept. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns (...) representing specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the _analytical_ philosophical efforts to define art and the _continental_ approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an _aesthetic (...) cognitivist_ position, art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary concerns about environmental aesthetics and somaesthetics are also addressed in the Introduction. Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis. (shrink)

If a man born blind were to gain his sight in later life would he be able to identify the objects he saw around him? Would he recognise a cube and a globe on the basis of his earlier tactile experiences alone? This was William Molyneux's famous question to John Locke and it was much discussed by English and French empiricists in the eighteenth century as part of the controversy over innatism and abstract ideas. Dr Morgan examines the whole (...) class='Hi'>history of this debate: Locke's own (negative) answer to the question, the contributions of Berkeley, Condillac, Diderot and Voltaire and the factual accounts of early cataract operations and modern laboratory studies. He shows how this debate is involved in the development and eventual separation of philosophy and experimental psychology after the eighteenth century and considers why the original question is effectively still unanswered. This is one problem-area with its intricate cluster of connected conceptual and technical difficulties which suggests the need for some reunion or at least collaboration between the two subjects. (shrink)

Parallel to Kemp's interest in contemporary science, one of his most consistent themes is the historical exploration of the possibilities of perceived and represented structures and patterns as organisational imperatives in nature and cognition. Structures in the context of Kemp's writing not only relate to the privileged observation sites of modern science but also act as instruments for an art history of contextually examined yet philosophically approached continuities.

Representation and content in some (actual) theories of perception -- Representation in perception and cognition : task analysis, psychological functions, and rule instantiation -- Perception as unconscious inference -- Representation and constraints : the inverse problem and the structure of visual space -- On perceptual constancy -- Getting objects for free (or not) : the philosophy and psychology of object perception -- Color perception and neural encoding : does metameric matching entail a loss of (...) information? -- Objectivity and subjectivity revisited : color as a psychobiological property -- Sense data and the mind body problem -- The reality of qualia -- The sensory core and the medieval foundations of early modern perceptual theory -- Postscript (2008) on Ibn al-Haytham's (Alhacen's) theory of vision -- Attention in early scientific psychology -- Psychology, philosophy, and cognitive science : reflections on the history and philosophy of experimental psychology -- What can the mind tell us about the brain? : psychology, neurophysiology, and constraint -- Introspective evidence in psychology. (shrink)

Interpreting Visual Culture brings together the writings of some of the leading experts in art history, philosophy, sociology and cultural studies to look at the role of perception and the "visual" in our understanding of the contemporary human condition. Ranging from an analysis of the role of vision in current critical discourse to a discussion of specific examples taken from the visual arts, ethics and sociology, this collection presents the latest material on the interpretation of (...) the visual in modern culture. Topics covered include: the hermeneutics of seeing, the visual rhetoric of modernity, the drawings of Bonnard, recent feminist art, practices and perceptions in art and ethics. Divided into three main sections, each beginning with an introductory chapter outlining the main topics under discussion, comprehensive and engaging, Interpreting Visual Culture will be essential reading for students of sociology, cultural studies and art history. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is an (...) external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

Contributors to this book include key theorists and practitioners from media theory, Native Science, bio-media and sound art, philosophy, art history and design informatics. Collectively, they examine the becoming-technique of animal-human- machinic perceptibilities; and micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. Who, what, and where perceives, and how? What are the sedimentations, inscriptions and axiologies of animal, human and machinic perceptions? What are their perceptibilities? Deleuze uses the word 'visibilities' to indicate that (...) class='Hi'>visual perception isn't just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio- temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events. The contributors show distributed perception to be a key notion in addressing the emergence and persistence of plant, animal, human and machine relations. An invaluable reference for students and scholars in a range of areas including Media Theory, Sociology, Philosophy, Art and Design. (shrink)

_Perception_ presents classic essays on the conceptual and theoretical problems in the study of vision. In a style that is accessible to the non-expert, the volume lays out core issues in the theory of vision and then sets up a dialogue on the topics among philosophers and psychologists, past and present. Offers an accessible introduction to perception through key readings. Presents a dialogue among philosophers and psychologists on the science of perception. Contains a comprehensive introduction and provides suggestions (...) for further reading. Useful for readers interested in philosophy, psychology, cognitive science, computer vision, and visual science. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is an (...) external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

This article considers photography’s role as a visual technology and the consequent effects of expanded frames of knowledge. At the very moment human vision and memory were called into profound doubt, photography provided a mechanical, prosthetic extension to perceptual experience. However, as a technology, it contains the potential for both revelation and control. In this article, photography is considered as a technique that: expands human perception; inscribes its own mechanical operations into new visual forms, therefore enframing and (...) encoding visible knowledge; and can be harnessed as a disciplinary instrument and technique of power. As a consequence, photography’s revealing of hitherto invisible dimensions of reality unfolds within a history of revelation, spectacle and power. (shrink)

Empirical and theoretical foundations for the study of the temporal dynamics of mechanisms contributing to unconscious and conscious processing of visual information; from computational, psychological, neuropsychological, and neurophysiological perspectives.

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)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate (...) a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological (...) tools of Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

This book contains three essays: "The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art" by Gombrich, the renowned art historian and critic; "The Representation of Things and People" by psychologist, Julian Hochberg; and "How Do Pictures Represent" by philosopher, Max Black. The book is based upon lectures delivered in the Johns Hopkins 1970 Thalheimer Lectures, where, taking off from the question "how there can be an underlying identity in the manifold and changing facial expression (...) of a single individual," there is an interdisciplinary attempt at clarifying the problem of representation. Gombrich’s central thesis is that the key to artistic representation is empathy and projection, which is guided by the interlocking display of the permanent and mobile features of the object represented. Perceptual activity and empathy rely more on the muscular imitation than on passive visual reception. He holds that what is singled out as the likeness-factor uniting the permanent and mobile features in, for example, the photograph of the four-year old Lord Russell and such factors in the ninety-year old Russell is the "general tonus, the melody of transition from given ranges of relaxations to forms of tenseness." Hochberg’s essay spells out the position that perception is purposive behavior, wherein the purpose is the information sought and behavior is the "succession of glances in different directions." Holding that perceptual activity is grounded in expectations, he lays aside Gombrich’s muscularity-thesis in favor of a learned expectation of feature characteristics. Black’s essay is a conceptual analysis of "depiction," or more precisely, of "P displays a subject S if and only if R, where R ‘will constitute the necessary and sufficient condition for P displaying S'." The essay, which proceeds in a Wittgensteinian Investigations-type fashion ends where the reader would hope it begin. He concludes that the problem can only be adequately answered by moving from logical investigation to the world of the artisan and art lover. To arrive at this conclusion he debunks six candidates that claim to meet the depiction conditions: causal history, selective information, intention, mimesis, resemblance, and "looking-like." At best, depiction may be considered a "cluster" concept of all six. Further determination, he holds, requires knowledge of the purpose of a particular depiction, and this takes us out of logic and into art; and so Black stops, unfortunately.—W. A. F. (shrink)

Review of THEO C. MEYERING, Historical Roots of Cognitive Science : The Rise of a Cognitive Theory of Perception from Antiquity to the Nineteenth Century. Boston: Kluwer, xix + 250 pp. $69.00. Examines the author's interpretation of Aristotelian theories of perceptual cognition, early modern theories, and Helmholtz's theory.

''The authors' style is clear, making the book accessible to newcomers, and the illustrations are excellent. There can be no doubt that this book will remain the standard work in the subject, and it will appeal to readers of all types.'' -Sir Patrick Moore in the Times Higher Education Supplement ''It will surely be the standard work on the subject for many years to come and we await with interest the outcome of further research into this fascinating subject.'' -Society for (...) the History of AstronomyFor thousands of years, one scientific puzzle has fascinated and perplexed the greatest philosophers, mathematicians, physicists, and psychologists - why do the moon and sun appear so much larger on the horizon than when high up in the sky? Now, two leading psychologists have provided a compelling account of this fascinating illusion. Taking us through the history, the characters involved, the attempts made to explain the illusion, through to modern day studies of visual perception, the book is the most comprehensive account of this puzzle so far. This is a work which will remain, for some time to come, the definitive book on a mystery that has fascinated and tested the greatest minds throughout the ages. Accessibly written, it will appeal to readers of popular science, along with those within the disciplines of psychology, mathematics, astronomy, and philosophy, from undergraduate upwards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about (...) the term "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

Jerry Fodor wrote the following assessment of Danto’s importance in 1993: “Danto has done something I’ve been very much wanting to do: namely, reconsider some hard problems in aesthetics in the light of the past 20 years or so of philosophical work on intentionality and representation” (Fodor 1993, p. 41). Fodor is absolutely right: some of Danto’s work could be thought of as the application of some influential ideas about perception that Fodor also shared. The problem is that these (...) ideas have turned out to be false. Both Danto and Fodor are modularist: they both think that perception is an encapsulated process that is in no way influenced by any kind of non-perceptual processing (see, e.g., Fodor 1983, Pylyshyn 1984). Many of Danto’s famous and influential arguments rely very directly on this modularist assumption. There is now, however, a wealth of evidence against modularism of the strong kind held to by Danto and Fodor. We now know that perceptual experience is not determined entirely by the retinal input: our visual processing is influenced at various point in a top-down manner. What we know and what kinds of visual stimuli we have encountered previously deeply influence how the retinal input is processed. The empirical literature on this is vast and conclusive (for an overview, see Teufel and Nanay 2017 but see also the references in the last section of this paper). What does this mean for Danto’s views on art and perception? While one of Danto’s premises may turn out to be false, the history and examples he gave are valuable and bear repeating. Even more importantly, Danto’s aesthetics can in part be separated out from his modularism, leading us to draw slightly different but arguably even more interesting conclusions from famous thought experiments such as the Gallery of Indiscernibles. (shrink)

By contrast to the competitive and participatory models of sport, the immersive model shows greater potentiality as a healthful practice more distant from transcendent, technocratic aspects of other models, instead accepting the body's immanence as part of evolutionary history and the natural world. Because of the largely unconscious, evolutionarily based responses to one's environment, the environment in which a sporting activity takes place has a tangible impact on performance. As our most evolutionarily recent sense system, visuality is linked to (...) the Social Engagement System. The mediated experience of sport through visual culture might catalyse the Social Engagement System and the perception that the sporting activity is communal and welcoming. Particularly the subculture surrounding the sport of CrossFit, which spread almost entirely through website presence and the posting of videos of workouts on the mainsite, might be said to exemplify how growth in new sports is augmented by visuality and the formation of virtual communities that then become embodied. (shrink)

The Archive is a central but paradoxical image in the work of the con temporary French artist Christian Boltanski (born 1944). Because Boltanski is obsessively concerned with the death-like rupture and loss by which experience is continuously reduced to fragmentary and inac curate memories of the past, especially regarding the adult's perception of childhood, archives represent for him a potential means of regaining access to what has been lost and is being mourned. However, Boltan ski's installation and performance works (...) that investigate the powers of archives set out ironically the absurdly limited and misleading processes of an archive. Photography in particular is shown to be unreliable, more icon than document, challenging rather than asserting notions of cat egory and coherence. The notion of the icon, moreover, underlines the spiritual dimension that accompanies this absurdist relationship with the past. Our faulty but much-desired awareness of a past gives complex value to our present, often in a touching, pathetic way, however arbitrary the means involved. The trail of the archive leads to an uncertainty that is nonetheless precious. The many subjects that Boltanski treats in this light vary disarmingly and controversially from the trivia and detritus of everyday living to the supreme seriousness of the Holocaust. He also transforms himself and his family into a labyrinthine and playful archive. Here a curious relationship emerges with the reputation and books of his brother, the sociologist Luc Boltanski. Christian borrows with no explicit acknowledgement the archive resources of Luc's sociological research as a sub-text in his visual works. Even more surprisingly, Luc Boltanski published in 1993 HISTORY OF THE HUMAN SCIENCES Vol. 11 No. 4 © 1998 SAGE Publications (London, Thousand Oaks and New Delhi) [0952-6951(199811)11:4;121-140; 006612]Poème, a collection of highly emotive and personal poetry about the past and the Holocaust. The problems raised by Christian Boltanski and by Luc conflate the personal and historical dimensions of the Archive. (shrink)

Recent discussions in the philosophy of psychology have examined the use and legitimacy of such notions as “representation”, “content”, “computation”, and “inference” within a scientific psychology. While the resulting assessments have varied widely, ranging from outright rejection of some or all of these notions to full vindication of their use, there has been notable agreement on the considerations deemed relevant for making an assessment. The answer to the question of whether the notion of, say, representational content may be admitted into (...) a scientific psychology has often been made to hinge upon whether the notion can be squared with our “ordinary” or “folk” style of psychological explanation, with its alleged commitment to the idiom of beliefs and desires. In this article, I proceed the other way around, starting with experimental psychology itself and asking whether such notions as the above play a legitimate role within a particular area of contemporary theory, the psychology of perception. My conclusion will be that especially the first three have a legitimate place in theories of perception, albeit one that differs from that ascribed to them in a significant portion of the philosophical literature. Along the way I develop a notion of noncognitive functional analysis, which separates the notion of contentful perceptual processing and perceptual representation from cognitive or conceptual content. (This paper has been reprinted, with stylistic revisions, in Perception and Cognition, Essays in the Philosophy of Psychology, Oxford, Clarendon Press, 2009, pp. 50-87.). (shrink)

One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have (...) some reason to think that at least in certain contexts, visual attention does have a history. (shrink)