A common objection to representationalism is that a representationalist view of phenomenal character cannot accommodate the effects that shifts in covert attention have on visual phenomenology: covert attention can make items more visually prominent than they would otherwise be without altering the content of visual experience. Recent empirical work on attention casts doubt on previous attempts to advance this type of objection to representationalism and it also points the way to an alternative development of the objection.

Neuroimaging and psychophysiological techniques have proved to be useful in comprehending the extent to which the visual modality is pervasive in mental imagery, and in comprehending the specificity of images generated through other sensory modalities. Although further research is needed to understand the nature of mental images, data attained by means of these techniques suggest that mental imagery requires at least two distinct processing components.

Visual working memory is a construct hypothesized to store a small amount of accurate perceptual information that can be brought to bear on a task. Much research concerns the construct's capacity and the precision of the information stored. Two prominent theories of VWM representation have emerged: slot-based and continuous-resource mechanisms. Prior modeling work suggests that a continuous resource that varies over trials with variable capacity and a potential to make localization errors best accounts for the empirical data. Questions remain (...) regarding the variability in VWM capacity and precision. Using a novel eye-tracking paradigm, we demonstrate that VWM facilitates search and exhibits effects of fixation frequency and recency, particularly for prior targets. Whereas slot-based memory models cannot account for the human data, a novel continuous-resource model does capture the behavioral and eye tracking data, and identifies the relevant resource as item activation. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, (...) south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)

Optic neuropathies are conditions that cause disease to the optic nerve, and can result in loss of visual acuity and/or visual field defects. An improved understanding of how these conditions affect the entire visual system is warranted, to better predict and/or restore the visual loss. In this article, we review visually-driven functional magnetic resonance imaging (fMRI) studies of optic neuropathies, including glaucoma and optic neuritis (ON); we also discuss traumatic optic neuropathy (TON). Optic neuropathy-related vision loss (...) results in fMRI deficit within the visual cortex, and is often strongly correlated with clinical severity measures. Using predominantly flickering checkerboard stimuli, glaucoma studies indicated retinotopic-specific cortical alteration with more prominent deficits in advanced than in early glaucoma. Some glaucoma studies indicate a reorganized visual cortex. ON studies have indicated that the impacted cortical areas are briefly hyperactive. For ON, brain deficits are greater in the acute stages of the disease, followed by (near) normalization of responses of the LGN, visual cortex, and the dorsal visual stream, but not the ventral extrastriate cortex. Visually-driven fMRI is sensitive, at least in ON, in discriminating patients from controls, as well as the affected eye from the fellow eye within patients. The use of a greater variety of stimuli beyond checkerboards (e.g., visual motion and object recognition) in recent ON studies is encouraging, and needs to continue to disentangle the results in terms of change over time. Finally, visually-driven fMRI has not yet been applied in TON, although preliminary efforts suggest it may be feasible. Future fMRI studies of optic neuropathies should consider using more complex visual stimuli, and inter-regional analysis methods including functional connectivity. We suggest that a more systematic longitudinal comparison of optic neuropathies with advanced fMRI would provide improved diagnostic and prognostic information. (shrink)

Giorgio Agamben, a philosopher both celebrated and reviled, is among the prominent voices in contemporary Italian thought today. His work, which touches upon fields as diverse as aesthetics and biopolitics, is often understood within a framework of Aristotelian potentiality. With this incisive critique, Doussan identifies a different tendency in the philosopher's work, an engagement with the problem of time that is inextricably bound up with language and visuality. Founded in his early writings on metaphysics and continuing to his present occupation (...) with inoperativity, Time, Language and Visuality in Agamben's Philosophy forges an original path through Agamben's extensive commentary on the linguistic and the visual to illuminate the recurrent temporal theme of capture and evasion the cat-and-mouse game that bears the foundational violence of not just representation but concept-formation itself. In the process, Doussan both reveals its limit and establishes a ground for future engagements. (shrink)

In January 2019, What is Peppa?, a promotional video for a Chinese New Year movie, received widespread attention in China immediately after its release. This paper explains the success of the video from the perspective of visual framing, and employs Systemic Visual Grammar to analyze how visual semiotics are applied to frame prominent topics so as to achieve promotional purposes. The results show that: (i) visual semiotics are used to frame the topic of empty nesters, implying (...) that this issue brings negative consequences and evoking the audience’s empathy and concern; (ii) visuals frame the topic of family love, in which the main protagonist’s actions are highlighted; and (iii) the topic of family reunion is mainly framed and realized by delicate compositional arrangements. Using various visual semiotics at the denotative, stylistic-semantic, connotative, and ideological levels, this video establishes both visual and emotional communication between the main character and the audience, making the promotional purpose more successful. The results highlight and specify the important roles of visual frames in promotional videos, and the integration of Peppa with traditional Chinese culture, love, and family reunion represents a visual approach to glocalization. (shrink)

What does it mean to see time in the visual arts and how does art reveal the nature of time? Paul Atkinson investigates these questions through the work of the French philosopher Henri Bergson, whose theory of time as duration made him one of the most prominent thinkers of the fin de siècle. Although Bergson never enunciated an aesthetic theory and did not explicitly write on the visual arts, his philosophy gestures towards a play of sensual differences that (...) is central to aesthetics. This book rethinks Bergson's philosophy in terms of aesthetics and provides a fascinating and original account of how Bergsonian ideas aid in understanding time and dynamism in the visual arts. From an examination of Bergson's influence on the visual arts to a reconsideration of the relationship between aesthetics and metaphysics, Henri Bergson and Visual Culture explores what it means to reconceptualise the visual arts in terms of duration. Atkinson revisits four key themes in Bergson's work - duration; time and the continuous gesture; the ramification of life and durational difference - and reveals Bergsonian aesthetics of duration through the application of these themes to a number of 19th and 20th-century artworks. This book introduces readers and art lovers to the work of Bergson and contributes to Bergsonian scholarship, as well as presenting a new of understanding the relationship between art and time. (shrink)

Numerosity perception is a key ability for human and non-human species, probably mediated by dedicated brain mechanisms. Electrophysiological studies revealed the existence of both early and mid-latency components of the Electrophysiological (EEG) signal sensitive to numerosity changes. However, it is still unknown whether these components respond to physical or perceived variation in numerical attributes. We here tackled this point by recording electrophysiological signal while participants performed a numerosity adaptation task, a robust psychophysical method yielding changes in perceived numerosity judgments despite (...) physical numerosity invariance. Behavioral measures confirmed that the test stimulus was consistently underestimated when presented after a high numerous adaptor while perceived as veridical when presented after a neutral adaptor. Congruently, EEG results revealed a potential at around 200 ms (P2p) which was reduced when the test stimulus was presented after the high numerous adaptor. This result was much prominent over the left posterior cluster of electrodes and correlated significantly with the amount of adaptation. No earlier modulations were retrievable when changes in numerosity were illusory while both early and mid-latency modulations occurred for physical changes. Taken together, our results reveal that mid-latency P2p mainly reflects perceived changes in numerical attributes, while earlier components are likely to be bounded to the physical characteristics of the stimuli. These results suggest that short-term plastic mechanisms induced by numerosity adaptation may involve a relatively late processing stage of the visual hierarchy likely engaging cortical areas beyond the primary visual cortex. Furthermore, these results also indicate mid-latency electrophysiological correlates as a signature of the internal representation of numerical information. (shrink)

It is often claimed that pre-attentive vision has an ‘iconic’ format. This is seen to explain pre-attentive vision's characteristically high processing capacity and to make sense of an overlap in the mechanisms of early vision and mental imagery. But what does the iconicity of pre-attentive vision amount to? This paper considers two prominent ways of characterising pre-attentive visual icons and argues that neither is adequate: one approach renders the claim ‘pre-attentive vision is iconic’ empirically false while the other obscures (...) its ability to do the explanatory work, which motivates positing pre-attentive visual icons in the first place. With this noted, I introduce the notion of an ‘Analogue Map’ and argue that it provides a superior characterisation of pre-attentive vision's iconicity. I then argue that this forces a reassessment of debates which have traditionally presupposed the iconicity of pre-attentive vision, emphasising ramifications for the viability of a format-based perception-thought border. (shrink)

Visual imagery is a form of sensory imagination, involving subjective experiences typically described as similar to perception, but which occur in the absence of corresponding external stimuli. We used the Activation Likelihood Estimation algorithm (ALE) to identify regions consistently activated by visual imagery across 40 neuroimaging studies, the first such meta-analysis. We also employed a recently developed multi-modal parcellation of the human brain to attribute stereotactic co-ordinates to one of 180 anatomical regions, the first time this approach has (...) been combined with the ALE algorithm. We identified a total 634 foci, based on measurements from 464 participants. Our overall comparison identified activation in the superior parietal lobule, particularly in the left hemisphere, consistent with the proposed ‘top-down’ role for this brain region in imagery. Inferior premotor areas and the inferior frontal sulcus were reliably activated, a finding consistent with the prominent semantic demands made by many visual imagery tasks. We observed bilateral activation in several areas associated with the integration of eye movements and visual information, including the supplementary and cingulate eye fields (SCEFs) and the frontal eye fields (FEFs), suggesting that enactive processes are important in visual imagery. V1 was typically activated during visual imagery, even when participants have their eyes closed, consistent with influential depictive theories of visual imagery. Temporal lobe activation was restricted to area PH and regions of the fusiform gyrus, adjacent to the fusiform face complex (FFC). These results provide a secure foundation for future work to characterise in greater detail the functional contributions of specific areas to visual imagery. (shrink)

The theoretical notion of ‘construal’ captures the idea that the way in which we describe a scene reflects our conceptualization of it. Relying on the concept of ception – which conjoins conception and perception – we operationalized construal and employed a Visual World Paradigm to establish which aspects of linguistic scene description modulate visual scene perception, thereby affecting event conception. By analysing viewing behaviour after alternating ways of describing location (prepositions), agentivity (active/passive voice) and transfer (NP/pp datives), we (...) found that the linguistic construal of a scene affects its spontaneous visual perception in two ways: either by determining the order in which the components of a scene are accessed or by modulating the distribution of attention over the components, making them more or less salient than they naturally are. We also found evidence for the existence of a cline in the construal effect with stronger expressive differences, such as the prepositional manipulation, inducing more prominent changes in visual perception than the dative manipulation. We discuss the claims language can lay to affecting visual information uptake and hence conceptualization of a static scene in the light of these results. (shrink)

A range of arguments are presented to demonstrate that (1) human visual orientations are conceptually constituted (concept?bound); (2) the concept?boundedness of visual orientations does not require a cognitivist account according to which a mental process of ?inference? or of ?interpretation? must be postulated to accompany a purely ?optical? registration of ?wavelengths of light?, ?photons?, or contentless ?information'; (3) concept?bound visual orientations are not all instances of ?seeing as?, contrary to some currently prominent cognitivist accounts; (4) the dispute (...) between cognitivist and realist accounts about the phenomenon of ?seeing as? is spurious, and is based upon a confusion about the fundamental analytical distinction made by Wittgenstein between ?seeing? and ?seeing as'; (5) ?perceiving?, ?seeing?, and ?seeing as? are but three of a large array of verbs of human visual orientation, and are not ?master categories? under which one can subsume these other modalities; (6) one cannot deduce a continuity of human visual orientation from a continuity of photon?photoreceptor interaction, a point we characterize as the ?staggered character? of human visual orientations; (7) detailed attention to the grammars of the diverse verbs of human visual orientation can open up a domain of study which we here refer to as a ?praxiology of perception'; (8) the nature of such an inquiry can be illustrated with exemplary reference to the analysis of the properties of ?noticing? as embedded in courses of practical action; and (9) such arguments, which claim that existing perceptual theories overly homogenize what is involved in visual orientations to the world, parallel those of Stroll, who proposes that standard accounts of ?what is perceived? overly homogenize the perceptible environment. (shrink)

Two experiments are reported which investigate the factors that influence how persuaded mathematicians are by visual arguments. We demonstrate that if a visual argument is accompanied by a passage of text which describes the image, both research-active mathematicians and successful undergraduate mathematics students perceive it to be significantly more persuasive than if no text is given. We suggest that mathematicians’ epistemological concerns about supporting a claim using visual images are less prominent when the image is described in (...) words. Finally we suggest that empirical studies can make a useful contribution to our understanding of mathematical practice. (shrink)

This revelatory book focuses on a remarkable series of encounters between the most prominent French philosophers of the 1960s and 1970s—Sartre, Deleuze, Bourdieu, and Foucault among them—and the artists of their times, most particularly the protagonists of the Narrative Figuration movement. Each encounter involved either a mutual engagement or the writing of critical texts or catalogue prefaces—texts that illuminate not only the work of the artists but also the production of the philosopher-writer concerned. Although the protagonists of “French theory” are (...) universally known and studied, their thought is presented without a sense of contiguity, chronology, or context in translation, while the artists with whom they engaged are virtually unknown outside the French-speaking world. This account restores the lived context of artistic production. What Bourdieu called “cultural competence” is seen to be essential for these particular philosophers, and Sarah Wilson shows that it is through them that the figurative art of 1970s France can be introduced to the audience it deserves. (shrink)

Call the view that perceptual states can have propositional contents the ‘propositional view’ - or PV for short. Proponents of PV include John McDowell and Susanna Siegel; Anil Gupta and Charles Travis are prominent opponents. In this paper, I wish to address an argument against PV put forward by Anil Gupta. Gupta argues that the conjunction of PV with two further claims, which he calls the ‘Equivalence constraint’ and the ‘reliability constraint’, leads to skepticism. I shall argue that even if (...) we grant EC, Gupta has not given us a compelling reason for rejecting PV and that if we are faced with a choice between rejecting PV and RC, we should reject RC ahead of PV. I shall also suggest that Gupta’s account begs the question against one prominent version of PV. (shrink)

The neural mechanisms underlying behavioral improvement in the detection or discrimination of visual stimuli following learning are still ill understood. Studies in nonhuman primates have shown relatively small and, across studies, variable effects of fine discrimination learning in primary visual cortex when tested outside the context of the learned task. At later stages, such as extrastriate area V4, extensive practice in fine discrimination produces more consistent effects upon responses and neural tuning. In V1 and V4, the effects of (...) learning were most prominent in those neurons that can contribute the most reliable information about the trained stimuli. I suggest that, depending on the particulars of the task demands, neurons at various stages of stimulus and task processing can change their tuning and responses, so that execution of the task will produce a higher frequency of reward. I speculate that the sort of changes that will occur depend on the task and on stimulus analysis require- ments, and they may vary from changes in bottom-up stimulus processing ⁄ tuning within early visual areas or more efficient readout of early visual areas to top-down driven changes in response proper- ties of these areas. (shrink)

I focus on the concept of the receptive field of a sensory neuron, taking it as a prominent case to address conceptual change in the history of neuroscience. I argue for an interpretation of its ro...

Merging the information from different senses is essential for successful interaction with real-life situations. Indeed, sensory integration can reduce perceptual ambiguity, speed reactions, or change the qualitative sensory experience. It is widely held that integration occurs at later processing stages and mostly in higher association cortices; however, recent studies suggest that sensory convergence can occur in primary sensory cortex. A good model for early convergence proved to be the auditory cortex, which can be modulated by visual and tactile stimulation; (...) however, given the large number and small size of auditory fields, neither human imaging nor microelectrode recordings have systematically identified which fields are susceptible to multisensory influences. To reconcile findings from human imaging with anatomical knowledge from nonhuman primates, we exploited high-resolution imaging (functional magnetic resonance imaging) of the macaque monkey to study the modulation of auditory processing by visual stimulation. Using a functional parcellation of auditory cortex, we localized modulations to individual fields. Our results demonstrate that both primary (core) and nonprimary (belt) auditory fields can be activated by the mere presentation of visual scenes. Audiovisual convergence was restricted to caudal fields [prominently the core field (primary auditory cortex) and belt fields (caudomedial field, caudolateral field, and mediomedial field)] and continued in the auditory parabelt and the superior temporal sulcus. The same fields exhibited enhancement of auditory activation by visual stimulation and showed stronger enhancement for less effective stimuli, two characteristics of sensory integration. Together, these findings reveal multisensory modulation of auditory processing prominently in caudal fields but also at the lowest stages of auditory cortical processing. (shrink)

The issue of whether or not there are visual arguments has been an issue in informal logic and argumentation theory at least since 1996. In recent years, books, sections of prominent conferences and special journals issues have been devoted to it, thus significantly raising the profile of the debate. In this paper I will attempt to show how the views of the later Wittgenstein, particularly his views on images and the no- tion of “picturing”, can be brought to bear (...) on the question of whether there are such things as “purely visual” arguments. I shall draw on Wittgenstein’s remarks in the Blue and Brown Books and in Philosophical Investigations in order to argue that al- though visual images may occur as elements of argumentation, broadly conceived, it is a mistake to think that there are purely visual arguments, in the sense of illative moves from premises to conclusions that are conveyed by images alone, without the support or framing of words. (shrink)

ArgumentHeidegger's philosophy of science is notable for the prominence it gives to visuals and visualization. This is because for Heidegger, truth – including scientific truth – is the consequence of unconcealment, the lifting of a veil. But as scientific truth is a special kind, its visualization is also special: scientific truth reveals itself to us as, in Heidegger's words, “a calculable nexus of forces.” This nexus unconceals itself largely by means of instrumentation: it is this process of revelation that (...) turns objects into objects of science. Despite its focus on visualization, however, Heidegger's philosophy of science cannot be applied directly to scientific visuals. His categories are not designed with visual exegesis in mind. For that purpose, semiotics, the science of meaning as defined by Charles Peirce, is a necessary intermediary between the abstract and the concrete, a taxonomy of icon, index, and symbol that can be employed as a set of hermeneutic probes that permit the exploration of scientific visuals as embodiments and carriers of scientific meaning. But not their sole embodiments and carriers. In achieving scientific semiosis, the verbal and visual must combine their particular strengths. This is also in accord with a Heideggerian view: science moves methodically from the visual to the propositional, though it never leaves the visual behind. (shrink)

As data-intensive and computational science become increasingly established as the dominant mode of conducting scientific research, visualisations of data and of the outcomes of science become increasingly prominent in mediating knowledge in the scientific arena. This position piece advocates that more attention should be paid to the epistemological role of visualisations beyond their being a cognitive aid to understanding, but as playing a crucial role in the formation of evidence for scientific claims. The new generation of computational and informational visualisations (...) and imaging techniques challenges the philosophy of science to re-think its position on three key distinctions: the qualitative/quantitative distinction, the subjective/objective distinction, and the causal/non-causal distinction. (shrink)

In this paper I address an important question concerning the nature of visual content: are the contents of human visual states and experiences exhaustively fixed or determined (in the non-causal sense) by our intrinsic physical properties? The individualist answers this question affirmatively. I will argue that such an answer is mistaken. A common anti-individualist or externalist tactic is to attempt to construct a twin scenario involving humanoid duplicates who are embedded in environments that diverge in such a way (...) that it appears to be necessary to attribute divergent contents to their respective visual states. In the first half of the paper I discuss some of the twin scenarios that are prominent in the literature and argue that they fail to undermine individualism. Indeed I argue that due to important facts about our internal workings, a convincing externalist twin scenario involving humanoid protagonists cannot be constructed. However, I argue that such a result does not conclusively establish an individualist thesis and that in order to settle the question at issue it is necessary to construct an independently motivated theory of visual content. I attempt to do this in the second half of the paper by developing a theory at the core of which is the idea that the contents of our visual states and experiences are determined by the causal powers vis-. (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)

We present a general cognitive architecture that tightly integrates symbolic, spatial, and visual representations. A key means to achieving this integration is allowing cognition to move freely between these modes, using mental imagery. The specific components and their integration are motivated by results from psychology, as well as the need for developing a functional and efficient implementation. We discuss functional benefits that result from the combination of multiple content-based representations and the specialized processing units associated with them. Instantiating this (...) theory, we then discuss the architectural components and processes, and illustrate the resulting functional advantages in two spatially and visually rich domains. The theory is then compared to other prominent approaches in the area. (shrink)

This article starts with the environmental changes in human cognition, analyzes the virtual as the main feature of visual perception under digital technology, and explores the transition from passive to active human cognitive activities. With the diversified understanding of visual information, human contradiction of memory also began to become prominent. Aiming at the problem that the existing multimodal TV media recognition methods have low recognition rate of unknown application layer protocols, an adaptive clustering method for identifying unknown application (...) layer protocols is proposed. This method clusters application layer protocols based on similarity of the load characteristics of network stream application layer protocol data. The method divides the similarity calculation in the clustering algorithm to improve the clustering efficiency of the algorithm. Experimental results show that the proposed method can efficiently and accurately recognize unknown visual communication. This article proposes that, in the interactive multimodal visual information transmission, human visual perception experience has changed, the diversity of visual information content expression makes the aesthetic subject more personalized and stylized. (shrink)

Recent findings in neuroscience strongly suggest that an object’s features (e.g., its color, texture, shape, etc.) are represented in separate areas of the visual cortex. Although represented in separate neuronal areas, somehow the feature representations are brought together as a single, unified object of visual consciousness. This raises a question of binding: how do neural activities in separate areas of the visual cortex function to produce a feature-unified object of visual consciousness? Several prominent neuroscientists have adopted (...) neural synchrony and attention-based approaches to explain object feature binding. I argue that although neural synchrony and attentional mechanisms might function to disambiguate an object’s features, it is difficult to see how either of these mechanisms could fully explain the unity of an object’s features at the level of visual consciousness. After presenting a detailed critique of neural synchrony and attention-based approaches to object feature binding, I propose interactive hierarchical structuralism (IHS). This view suggests that a unified percept (i.e., a feature-unified object of visual consciousness) is not reducible to the activity of any cognitive capacity or to any localized neural area, but emerges out of the interaction of visual information organized by spatial structuring capacities correlated with lower, higher, and intermediate levels of the visual hierarchy. After clarifying different notions of emergence and elaborating evidence for IHS, I discuss how IHS can be tested through transcranial magnetic stimulation and backward masking. In the final section I present some further implications and advantages of IHS. (shrink)

After a discourse about the literature on visual acuity before Hume, I discuss how the "size" of visual objects is defined and determined. I shall then present circumstantial, but commanding, evidence for the influence of James Jurin's Essay upon Distinct and Indistinct Vision on Hume's thought. This work contains well-supported findings incompatible with claims made in T 1.2, "Of the ideas of space and time," and elsewhere. Specifically, the prominent principle of the Treatise, "[w]hat consists of parts is (...) distinguishable into them, and what is distinguishable is separable" (T 1.2.1.3; SBN 27) is shown to be false. A powerful principle, it is a premise to the most important arguments of the Treatise, but is shunned in the Enquiry and later writings because, I believe, Hume had read Jurin. (shrink)

Anxiety has been associated with enhanced unconscious processing of threat and attentional biases towards threat. Here, we focused on the phenomenology of perception in anxiety and examined whether threat-related material more readily enters anxious than non-anxious individuals’ awareness. In six experiments, we compared the stimulus exposures required for each anxiety group to become objectively or subjectively aware of masked facial stimuli varying in emotional expression. Crucially, target emotion was task irrelevant. We found that high trait-anxiety individuals required less sensory evidence (...) to become aware of the face targets. This anxiety-based difference was observed for fearful faces in all experiments, but with non-threat faces, it emerged only when these were presented among threatening faces. Our findings suggest a prominent role for affective context in high-anxiety individuals’ conscious perception of visual stimuli. Possible mechanisms underlying the influence of context in lowering awareness thresholds in anxious individuals are discussed. (shrink)

In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

This essay examines women's spectacularly visible status in feminised mass cultural domains in the first decades of the twentieth century. Feminine spectacles are commonly understood to invite viewers to access women's bodies, yet early twentieth-century spectacles paradoxically called renewed attention to women's illegibility. Women's visual prominence made apparent their ‘unknowability’, recasting an ancient ideational heritage in modern terms. Representations of women as opaque in the early twentieth century constituted a challenge to ocularcentrism and reveal the centrality of femininity (...) in mass mediations of epistemology and ontology. Drawing on written accounts of women's opacity in the fashion and beauty press, I argue that attention to spectacles of unknowability can be productive for feminist modernist studies. The texturing of histories of feminine spectacle challenges some tenacious dichotomies that continue to inform accounts of women's place in the modern, including those of subject and object, and visibility and invisibility. Focusing on opacity leads us to a productive account of the variable visibility of women in the modern, which foregrounds the multiple historical relations of different groups of women to regimes of visibility and keeps in view the diverse ways that differently classed and raced women were positioned vis-à-vis spectacle. The essay draws on feminist and postcolonial theory to suggest that an attunement to the unknowable not only nuances our understanding of a discrete historical period, but can lead the feminist researcher to confront and expand her own gaze in the era of capitalist modernity. (shrink)

Central to contemporary cognitive science is the notion that mental processes involve computations defined over internal representations. This view stands in sharp contrast to the to visual perception and cognition, whose most prominent proponent has been J.J. Gibson. In the direct theory, perception does not involve computations of any sort; it is the result of the direct pickup of available information. The publication of Gibson's recent book (Gibson 1979) offers an opportunity to examine his approach, and, more generally, to (...) contrast the theory of direct perception with the computational/representational view. In the first part of the present article (Sections 2direct perceptioncase study”: the problem of perceiving the three-dimensional shape of moving objects is examined. This problem, which has been extensively studied within the immediate perception framework, serves to illustrate some of the inherent shortcomings of that approach. Finally, in Section 5, an attempt is made to place the theory of direct perception in perspective by embedding it in a more comprehensive framework. (shrink)

Prominent figures in the philosophical literature on attention hold that the connection between attention and selection is essential (Mole, 2011), necessary (Wu, 2011; 2014), or conceptual (Smithies, 2011). I argue that selection is neither essentially, necessarily, nor conceptually tied to attention. I first isolate the target conception of selection that I deny is so tightly coupled with attention: graded intramodal selection within consciousness. I analyse two visual cases: analysis of the first case shows that there can be attention without (...) a connection to tasks or action; analysis of the second case shows that there can be attention without a phenomenal foreground/background structure. Finally, I extend the argument into the domain of the body by considering a form of meditative absorption in body sensations to recapitulate the conclusions drawn from the two visual cases. (shrink)

Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.

Integration information theories posit that the integration of information is necessary and/or sufficient for consciousness. In this paper, we focus on three of the most prominent information integration theories: Information Integration Theory, Global Workspace Theory, and Attended Intermediate-Level Theory. We begin by explicating each theory and key concepts they utilize. We then argue that the current evidence indicates that the integration of information is neither necessary nor sufficient for consciousness. Unlike GWT and AIR, IIT maintains that conscious experience is both (...) necessary and sufficient for consciousness. We present empirical evidence indicating that simple features are experienced in the absence of feature integration and argue that it challenges IIT’s necessity claim. In addition, we challenge IIT’s sufficiency claim by presenting evidence from hemineglect cases and amodal completion indicating that contents may be integrated and yet fail to give rise to subjective experience. Moreover, we present empirical evidence from subjects with frontal lesions who are unable to carry out simple instructions and argue that they are irreconcilable with GWT. Lastly, we argue that empirical evidence indicating that patients with visual agnosia fail to identify objects they report being conscious of present a challenge to AIR’s necessity claim. (shrink)

Prominent models of attentional control assert a dichotomy between top-down and bottom-up control, with the former determined by current selection goals and the latter determined by physical salience. This theoretical dichotomy, however, fails to explain a growing number of cases in which neither current goals nor physical salience can account for strong selection biases. For example, equally salient stimuli associated with reward can capture attention, even when this contradicts current selection goals. Thus, although 'top-down' sources of bias are sometimes defined (...) as those that are not due to physical salience, this conception conflates distinct - and sometimes contradictory - sources of selection bias. We describe an alternative framework, in which past selection history is integrated with current goals and physical salience to shape an integrated priority map. (shrink)

The approach to images as cultural documents of collective memory and instruments of social shaping builds a central theoretical component of cultural theories since its establishment as a critical discipline. Prominent thinkers of cultural studies and art history defined images as symbolic representations and as carriers and storages of affective, cultural expression. The anthology covers this broad understanding of images as carriers of archival value, texts, and complex language; it elaborates on the fundamental role of images as a driving force (...) of ideologies and cultural evolution. The book also includes Charles S. Peirce's full manuscript On the Logic of drawing History from Ancient Documents especially from Testimonies, a genuine treatise on applied science as a universal method of incorporating knowledge across disciplines. (shrink)

This paper raises the question of the prominence and use of statistical graphs in science, and argues that their use in problem solving analysis can best be understood in an ‘interactionist’ frame of analysis, including bio-emotion, culture, social organization, and environment as elements. The frame contrasts both with philosophical realism and with social constructivism, which posit two variables and one way causal flows. We next posit basic differences between visual, verbal, and numerical media of perception and communication. Graphs (...) are thus seen as key interactive sites where different media are transformed into more interpretable forms. Examples are taken from Limnology where numbers are transformed into graphs to find patterns in them, and thus, by implication in the environmental materials from which the numerical measurements were taken. Their revisualization by passes a human cognitive limitation, for the direct analysis — interpretation of lists and tables of numbers, visual imaging being a cognitive strength. Sense of problem, conceptual repertoire, and social relations are seen to direct this pattern search and interpretive process. (shrink)

A prominent figure in the Twin Cities art scene, Chris Faust marks the essence of the changing Midwestern landscape by documenting common scenes in an uncommon way. Known for his spectacular panoramic work, Faust is also increasingly admired for his unique night photographs, where he quietly unveils a world we never noticed was there and when the darkest hours evoke a mood of mystery and surrealism. The palette of light and shadow heightens our senses by revealing the stillness and ambiguities (...) of the landscape. Nocturnes, a beautiful collection of more than seventy tritone photographs, is a visual record of our world as few ever see it: during the nighttime hours. Emphasizing the passage of time as well as the necessity for change, the images reflect our disappearing rural terrain, abandoned urban streets, and aging industrial spaces, recalling aspects of our culture that are quickly fading into the past. With an affinity for certain old-world practices and tools, Faust works just with ambient light and uses no digital or electronic technology—only classic darkroom processing—allowing all the subtle textures and tones to emerge in his work. Faust’s photographs of the Midwest are shot in a panoramic format with wide, detailed images—spectacular in both their artistry and documentary impact. Chris Faust, a resident of St. Paul, is one of Minnesota’s finest photographers. His award-winning images are widely collected and exhibited throughout the region and the country. Joan Rothfuss is a writer and art historian who was curator of the Walker Art Center for more than seventeen years. She was coeditor of the Walker collection catalogue Bits & Pieces Put Together to Present a Semblance of a Whole. (shrink)

Open-minded people should endorse dogmatism because of its explanatory power. Dogmatism holds that, in the absence of defeaters, a seeming that P necessarily provides non-inferential justification for P. I show that dogmatism provides an intuitive explanation of four issues concerning non-inferential justification. It is particularly impressive that dogmatism can explain these issues because prominent epistemologists have argued that it can’t address at least two of them. Prominent epistemologists also object that dogmatism is absurdly permissive because it allows a seeming to (...) provide justification even if the seeming was caused in some apparently inappropriate way. I conclude by disarming this objection. (shrink)

Photographic representations of women living with or beyond breast cancer have gained prominence in recent decades. Postmillennial visual narratives are both documentary projects and dialogic sites of self-construction and reader-viewer witness. After a brief overview of 30 years of breast cancer photography, this essay analyzes a collaborative photo-documentary by Stephanie Byram and Charlee Brodsky, Knowing Stephanie , and a memorial photographic essay by Brodsky written ten years after Byram’s death, “Remembering Stephanie” . The ethics of representing women’s postsurgical (...) bodies and opportunities for reader-viewers to engage in “productive looking” are the focal issues under consideration. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death (...) of the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

Discussion of the worldwide corporate development of biotechnologies is sometimes diverted through the introduction of images of heroic medical intervention, exemplified by the statement, I would do anything to save my daughter. Such heroic images seem to justify virtually any deployment of resources and nearly any health or environmental risk. But it is instructive for future public discussions to examine the use of such images, and to note that those advocating a prominent role for biotechnologies in an expanding global economy (...) welcome such diversionary patterns. Our responsibility to do our own thinking is beset by conditions that may lead us astray. In a time burdened by profound worry—crushing inequalities among the world's peoples, an ecological crisis, and threat of nuclear war—it is tempting to avert our eyes when we are faced with grave new dangers. Moreover, in our increasingly visual culture, images have come to function as a facsimile of and substitute for real thinking. If we are to have significant discussions about the potential of biotechnology, we must not only be wary of promises of economic growth but must also be mindful of sources of diversion and the appeals of image-thinking. We should strive to become more critical of our own ways of thinking, thus opening the discussion to a fuller consideration of what needs to be saved. (shrink)

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work (...) came to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

Suppose one has a visual experience as of having hands, and then reasons as follows: I have hands, If I have hands an external world exists; An external world exists. Suppose one’s visual experience gives one defeasible perceptual warrant, or justification, to believe – that is, one’s experience makes it epistemically appropriate to believe . And suppose one comes to believe on the basis of this visual experience. The conditional premise is knowable a priori. And can be (...) established by modus ponens inference. If one reasons thus, say one’s engaged in -reasoning. What, if anything, is wrong with -reasoning? I consider two prominent responses to this question – the dogmatists’ and Crispin Wright’s. Each finds fault in -reasoning, but on different grounds. I argue Wright’s response faces a problem which is standardly only taken to be faced by dogmatists. (shrink)

Challenges the idea held by many prominent twentieth-century Sinologists that early China experienced a “language crisis.” Jane Geaney argues that early Chinese conceptions of speech and naming cannot be properly understood if viewed through the dominant Western philosophical tradition in which language is framed through dualisms that are based on hierarchies of speech and writing, such as reality/appearance and one/many. Instead, early Chinese texts repeatedly create pairings of sounds and various visible things. This aural/visual polarity suggests that texts from (...) early China treat speech as a bodily practice that is not detachable from its use in everyday experience. Firmly grounded in ideas about bodies from the early texts themselves, Geaney’s interpretation offers new insights into three key themes in these texts: the notion of speakers’ intentions (yi), the physical process of emulating exemplary people, and Confucius’s proposal to rectify names (zhengming). Jane Geaney is Professor of Religious Studies at the University of Richmond and the author of On the Epistemology of the Senses in Early Chinese Thought. (shrink)