Diversas evidencias parecen indicar que, durante la comprensión oral, el procesamiento del habla se realiza a partir de la información verbal auditiva y de la información viso-gestual proveniente del interlocutor. En este marco, se evaluó el tiempo y la precisión de respuestas de sujetos oyentes en una tarea de lectura labial con el patrón acústico suprimido. En ella, 25 participantes adultos, sin diagnóstico de patologías lingüísticas o cognitivas ni discapacidad auditiva o visual, debían distinguir si estaban frente a una (...) palabra del español a partir de la visualización de su articulación. Para la tarea se construyeron 240 estímulos, divididos en tres grupos de 80 ‘Palabras’ del español, 80 ‘Pseudopalabras’ del español y 80 ‘No-Palabras’, presentados en forma aleatoria. Los resultados respecto del tiempo de respuesta indicaron que las ‘Palabras’ (m=717,6ms) se reconocen con una velocidad menor que las ‘Pseudopalabras’ (m=809,5ms) y las ‘No-Palabras’ (7633,7ms); mientras que las ‘Pseudopalabras’ demoraron más en ser respondidas que las ‘No-Palabras’. Por su parte, en los resultados de precisión los estímulos presentaron el siguiente patrón de reconocimiento: ‘Palabras’<‘Pseudopalabras’<‘No-Palabras’ (correspondientes a un 59,89%, 62,5% y 86,3%, respectivamente). Del mismo modo, se encontró evidencia robusta de la relación entre el tipo de estímulo presentado y el acierto/desacierto de las respuestas, aunque el modelo indica que la condición ‘No-Palabra’ es reconocida con mayor facilidad y que la diferencia entre ‘Palabras’ y las ‘Pseudopalabras’ no es relevante. Asimismo, se observó una relación entre la menor velocidad y el desacierto en las respuestas. Estos datos corroboran la hipótesis de la integración de información proveniente de la percepción visual y el procesamiento del lenguaje, al mismo tiempo que permiten proyectar trabajos futuros con evidencias electrofisiológicas. (shrink)

Newton da Costa and Steven French have argued that the concept of partial truth plays an important role in our understanding of significant aspects of scientific practice: from the status of scientific theories through the understanding of inconsistency in science to the nature of induction (see da Costa and French 2003). In this paper, I use the concept of partial truth and the associated framework of partial structures to offer a formulation of the concept of visual evidence, and I (...) examine some of the roles that this notion plays in scientific activity. DOI:10.5007/1808-1711.2011v15n2p249. (shrink)

A partir de la revisión de bibliografía especializada y del análisis crítico-constructivo del trabajo de Dow (2013) que examina los anacronismos existentes en la recreación digital de la ciudad de Florencia en el videojuego Assassin’s Creed II (2009), el presente trabajo explora la capacidad que tienen este tipo de videojuegos para reconstruir la ambientación de un período histórico concreto a partir del uso de anacronismos derivados de licencias creativas y de las necesidades artísticas propias del videojuego. Los resultados demuestran que (...) el anacronismo es una herramienta que los desarrolladores de videojuegos históricos utilizan de forma intencionada para transmitir una imagen del pasado que resulte vigente y atractiva en la actualidad. Igualmente se evidencia la necesidad de una metodología propia dentro de los denominados Game Studies que aborde el videojuego como objeto de estudio artístico lejos del enfoque de líneas de investigación como los Historical Game Studies y otras disciplinas humanísticas. (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.

El siguiente artículo plantea una reflexión sobre la historiografía del arte centroamericano y latinoamericano, para establecer algunas tendencias en cómo se han estudiado y qué aportes han realizado estos campos de conocimiento al entendimiento de las artes visuales regionales y la historia cultural centroamericana. Adicionalmente, en contraste con este estado de la cuestión, se plantean las contribuciones que realiza la tesis doctoral “Hacer exportable a Centroamérica: activación de circuitos artísticos internacionales y su impacto en la consolidación de los museos de (...) arte moderno y sus colecciones en Guatemala y Costa Rica, 1950-1996”, al conocimiento de esta historiografía. Se analizan dos aportes puntuales que realiza la tesis: por un lado, la investigación evidencia contundentemente que determinados/as artistas centroamericanos/as participaron con vigor de las redes artísticas internacionales en la segunda mitad del siglo XX; esto se logra reconstruir mediante un mapeo de los eventos en los que participaron. Seguidamente, se abarca otro aporte, en el que la investigación problematiza lo que se ha dicho sobre las características del arte moderno centroamericano mediante un análisis de las colecciones de tres museos regionales. (shrink)

Este artículo estudia las prácticas visuales destructivas de la iconoclasia. La destrucción es un gesto de emancipación y un acto de inmunización frente a la idolatría religiosa, social y política. La evidencia de la influencia de las imágenes en la creación de falsedades permite considerar la acción iconoclasta como un ejercicio de liberación. Analizamos los fundamentos de la ofensiva contra el poder de las imágenes en el espacio público. La mutilación visual, la negación, la censura, la prohibición serán prácticas (...) comunes en un espacio intermedio (estético-político) en el que se enreda la libertad de pensamiento. (shrink)

La Investigación basada en las Artes es un enfoque metodológico que cuestiona el cientifismo racional y objetivo como única vía valida de indagación, desarrollando un corpus de procedimientos vinculados con las artes cuyo objetivo principal no es tanto la evidencia, sino ofrecer nuevas perspectivas al incorporar las disciplinas artísticas como medio de investigación. Se analizan a partir de la deconstrucción los rasgos compositivos de cinco creaciones audiovisuales a partir del estudio de su configuración visual en encuadres y ritmo fílmico, (...) mediante dos instrumentos de análisis visual cuantitativo y medias visuales. (shrink)

En el presente trabajo intentaremos poner en evidencia un singular enfoque sobre la pólis ateniense ofrecido por Protágoras en el diálogo platónico que lleva su nombre. Dicho enfoque, soslayado por los intérpretes, hace hincapié en la dimensión visual de la praxis política de los ciudadanos y es coherente con los posicionamientos ontológicos que emergen de los fragmentos del sofista.

Esta reflexión evidencia cómo desde los años sesenta Amílcar Osorio produce una práctica artística en procura de la desinstitucionalización de la literatura y del arte, al situar sus objetivos estéticos no solo en las letras como posibilidad narrativa y poética, sino en la utilización de lo visual, el espacio y la vida misma como recurso artístico. Con esto el autor consigue difuminar las fronteras entre literatura, artes visuales y de acción, y logra producir lo que se puede considerar hoy (...) una práctica intermedial, al tomar estrategias propias del arte conceptual que le permiten conectar la vida cotidiana, la literatura, las ideas como expresión artística, la imagen y la performance. (shrink)

Este artículo explora el papel de la imitación en la enseñanza de las Artes visuales y la Literatura en educación básica por un lado y la Filosofía en educación media, por otro. Se inicia analizando el papel de la imitación en la enseñanza de las artes visuales y la literatura, donde se encuentra que aquélla debe ser entendida como una actividad de apropiación personal y no como una reproducción mecánica. Este hallazgo permite criticar la tendencia a considerar que el talento (...) es producto de una capacidad innata que desconoce la tradición creativa. Igualmente se evidencia que el resultado de la imitación, paradójicamente, es la creatividad y originalidad, en la medida en que provee al estudiante una base de estilos creativos diferentes, para combinarlos o mejorarlos, construyendo un estilo propio. Luego se ofrecen algunas ideas de cómo puede aplicarse dicha estrategia a la enseñanza de la Filosofía en educación media, a través de tres formas clásicas de hacer filosofía. La similitud entre los métodos pedagógicos permite establecer vínculos interesantes entre la naturaleza de las dos áreas de conocimiento, respecto al acto creativo. El artista crea su obra de manera similar a como el filósofo crea el concepto; en los dos casos, a pesar de que el producto es único y particular, posee pretensiones de universalidad. Tanto Arte como Filosofía se rebelan contra algunas características de la razón instrumental, en la medida en que valoran el aprender a demorarse en la contemplación y la reflexión, y valoran la imposibilidad de encerrar sus productos bajo alguna utilidad definida. En este sentido, tanto Arte como Filosofía se erigen como paradigmas de la libertad humana. (shrink)

El artículo explora las posiciones discursivas valorativas multimodales, es decir, que integran el modo verbal y el de la imagen por medio de ensambles, en un corpus conformado por ocho pósteres académicos del curso Biología Celular de una universidad estatal chilena, realizados por estudiantes de primer año entre 2016 y 2019. De cada cohorte, se seleccionaron los dos afiches que obtuvieron la calificación más alta. El objetivo es identificar, a través del marco conceptual de la Lingüística Sistémico Funcional (LSF) (Halliday, (...) 2004, 2014; Martin y White, 2005) y de la Semiótica Social (Kress y van Leeuwen, 2006; Martin, 2010, 2017; Unsworth, 2021), cómo se codifican los significados interpersonales multimodales en el corpus. A partir del análisis, se aporta evidencia para la caracterización de este género académico desde la perspectiva de las posiciones valorativas verbales del texto que se ensamblan con los recursos visuales para configurar el espacio semántico. Los resultados muestran juicios evocados a agentes elididos que dan cuenta de valoración, como una estrategia discursiva de los estudiantes frente a temas controversiales de la ciencia, tales como utilización de células madre y experimentación con animales. Los hallazgos también evidencian la necesidad de incluir un abordaje multimodal en procesos pedagógicos que consideren la literacidad de las ciencias en el género póster académico, ya que los significados verbales se ensamblan con los visuales para marcar posiciones valorativas. Finalmente, se proponen sugerencias para que los estudiantes adquieran las estrategias valorativas adecuadas al discurso académico científico. (shrink)

Resumen: Este artículo tiene como foco de estudio la fonología segmental del mapudungun, en general, y el estatus de los fonos interdentales /en el chedungun hablado en Alto Biobío, en particular. Se elicitó una lista léxica adaptada de Croese, 30 colaboradores adultos, bilingües de chedungun y español, pertenecientes a 10 localidades pehuenches de esta comuna. Mediante evidencia cuantitativa, visual, palatográfica y de contraste en ambiente análogo, se concluye que dichos fonos tienen estatus fonémico en la zona señalada.: This article (...) focuses on the Mapudungún segmental phonology in general, and the status of the interdental phones / from the Chedungun spoken in Alto Biobío in particular. An adapted lexicon list by Croese was elicited from 30 adult bilingual assistants, belonging to 10 towns of this community. Through the quantitative, visual, palatographic and analog environment contrast we concluded that those phones have phonemic status in the mentioned area. (shrink)

La concepción fenomenológica del sentido común inspirada por James sostiene que atender es esencialmente un fenómeno mental consciente. Las implicancias filosóficas modales de esta tesis sobre la naturaleza de la atención son claras. No es posible atender una cosa, sin ser consciente de ella. Sobre la base de estudios clásicos en torno a patologías visuales como la vista ciega y a experimentos recientes con sujetos no patológicos, este artículo argumenta que la conclusión filosófica jamesiana acerca de la metafísica de la (...) atención es falsa. La evidencia sugiere que de hecho es posible atender objetos sin experimentarlos conscientemente. (shrink)

This chapter argues, using the method of phenomenal contrast, that causation is represented in visual experience. The conclusion is contrasted with the conclusions drawn by Michotte in his book The Perception of Causation.

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that phenomenological argumentation (...) can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible. (shrink)

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

Research on visual attention has uncovered significant anomalies, and some traditional methods may have inadvertently probed peripheral vision rather than attention. Vision science needs to rethink visual attention from the ground up. To facilitate this, for a year I banned the word “attention” in my lab. This constraint promoted a more precise discussion of attention-related phenomena, capacity limits, and mechanisms. The insights gained lead me to challenge attributing to “attention” those phenomena that can be better explained by perceptual (...) processes, are predictable by an ideal observer model, or that otherwise may not require an additional mechanism. I enumerate a set of critical phenomena in need of explanation. Finally, I propose a unifying theory in which all perception results from performing a task, and tasks face a limit on complexity. (shrink)

When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator (...) functions in the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital (...) image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

A visual experience, as understood here, is a sensory event that is conscious, or like something to undergo. This chapter focuses on three issues concerning such experiences. The first issue is the so-called ‘transparency’ of experiences. The chapter distinguishes a number of different interpretations of the suggestion that visual experiences are ‘transparent’. It then discusses in what sense, if any, visual experiences are ‘transparent’, and what further conclusions one can draw from that. The second issue is which (...) properties we are presented with in visual experiences. It is widely accepted that we sometimes experience red for example. But exactly which properties do we sometimes visually experience, and which properties do we never visually experience? The third issue is which particulars, if any, we are presented with in visual experiences. Do we for example sometimes visually experience mind-independent particulars like trees? Do we sometimes visually experience mind-dependent, particular ‘sense-data’? (shrink)

En economía, la investigación se divide en dos grandes metodologías: los modelos teórico-matemáticos y los estudios empíricos. Estudiando modelos teóricos y métodos empíricos ) se da cuenta de las limitaciones de ambos métodos. Se concluye que ninguno de estos puede generar explicaciones de cómo en realidad suceden las cosas, sino que solo de cómo posiblemente suceden. La razón es que ambos necesitan un enlace interpretativo que permita extrapolar desde su propio sistema hacia un sistema objetivo. Los modelos tienen dominio general (...) y pueden dar cuenta de mecanismos. Los RCTs, al contrario, son válidos internamente y están conectados al mundo real, pero su dominio es muy específico. Aunque ninguno logre responder preguntas amplias de un fenómeno de interés, pueden complementarse para generar extrapolaciones más confiables sobre un sistema objetivo. Sin embargo, esto solo podrá hacerse si se conocen bien los mecanismos y el contexto en que ocurre una evidencia. Palabras clave: Causalidad, Mecanismos, Capacidades, Epistemología de la Economía, Generalización de Evidencia. (shrink)

Este trabalho teve como objetivo buscar evidência de validade convergente entre a Escala de Motivação para Aprendizagem em Universitários (EMAPRE-U) e a Escala de Avaliação da Motivação para Aprender de Alunos Universitários (EMA-U) e, também, verificar possíveis diferenças entre as variáveis sexo,..

A teoria da evidência faz-nos pensar o conhecimento a partir da sua face mais obscura, ainda que, paradoxalmente, a estranheza surja aqui do lado da luz: arquétipo cognitivo, diz-nos Fernando Gil, a luz é universalmente “a matéria natural do verdadeiro”. As condições perceptivas de produção da evidência apelam inevitavelmente para a visão e suas metáforas; os sentimentos de satisfação que o sujeito experimenta perante a descoberta da verdade são a consequência de um desejo em direcção ao verdadeiro, que (...) eclode como um brilho, uma iluminação, até mesmo uma vibração. Temos na evidência uma presença misteriosa, a partir do olhar giliano; ela exprime-se pelo conceito freudiano de unheimlich – a “inquietante estranheza”. Trata-se de um dos factores de eficácia da própria evidência, já que esta liga o sujeito ao mundo externo, de maneira apodíctica e plena, para além de que é típica das situações em que o real e o irreal se confundem, segundo Freud: esta “estranheza familiar”, como também se pode dizer, abre caminho a um excesso cognitivo no vislumbre certeiro de um possível real e verdadeiro. (shrink)

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference (...) from style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

Visual Arts Practice and Affect brings together a group of artist scholars to explore how visual arts can offer unique insights into the understanding of place, memory and affect. Each contributor highlights the crucial role the creative arts play in envisaging new perspectives on the making of meaning, ones that are grounded in the practicalities, materialities and embodied knowing of artistic practice. Art offers other ways of seeing, thinking, understanding the world. It can be very messy, very challenging, (...) but also moving, exquisite, astounding. The book opens a space for experiential appreciation by offering a writing that allows both the writer and the reader to consider those sorts of embodied sensibilities. (shrink)

La resonancia magnética funcional es una de las técnicas de neuroimagen más difundidas en las neurociencias cognitivas. Su influencia tuvo un rol central en la configuración del aspecto experimental de este campo. Frente a esto, consideramos que su estatus como evidencia no ha sido suficientemente discutido en la literatura filosófica. En este trabajo nos centramos sobre este punto abordando el problema clásico de definir el alcance que puede tener la estrategia localizacionista en neurociencias. Atendemos al modo en que este problema (...) se manifiesta hoy, tomando algunos ejemplos recientes de abordajes neurocientíficos caracterizados por estudiar el carácter dinámico de la actividad a gran escala en el cerebro. Tomamos en cuenta un número de limitaciones que presenta la resonancia magnética funcional, distinguiendo aquellas cuyo tratamiento pone en juego problemáticas de una índole no meramente técnica. A partir del análisis de algunas maneras en que los investigadores les hacen frente, sostenemos que existe una medida importante en que este tipo de estudios de neuroimagen pueden ser orientados sobre la base de supuestos y consideraciones teóricas generales. Concluimos que esta particular permeabilidad teórica de la resonancia magnética funcional es un factor central que incide sobre su estatus como evidencia neurocientífica. (shrink)

Some things look more complex than others. For example, a crenulate and richly organized leaf may seem more complex than a plain stone. What is the nature of this experience—and why do we have it in the first place? Here, we explore how object complexity serves as an efficiently extracted visual signal that the object merits further exploration. We algorithmically generated a library of geometric shapes and determined their complexity by computing the cumulative surprisal of their internal skeletons—essentially quantifying (...) the “amount of information” within each shape—and then used this approach to ask new questions about the perception of complexity. Experiments 1–3 asked what kind of mental process extracts visual complexity: a slow, deliberate, reflective process (as when we decide that an object is expensive or popular) or a fast, effortless, and automatic process (as when we see that an object is big or blue)? We placed simple and complex objects in visual search arrays and discovered that complex objects were easier to find among simple distractors than simple objects are among complex distractors—a classic search asymmetry indicating that complexity is prioritized in visual processing. Next, we explored the function of complexity: Why do we represent object complexity in the first place? Experiments 4–5 asked subjects to study serially presented objects in a self‐paced manner (for a later memory test); subjects dwelled longer on complex objects than simple objects—even when object shape was completely task‐irrelevant—suggesting a connection between visual complexity and exploratory engagement. Finally, Experiment 6 connected these implicit measures of complexity to explicit judgments. Collectively, these findings suggest that visual complexity is extracted efficiently and automatically, and even arouses a kind of “perceptual curiosity” about objects that encourages subsequent attentional engagement. (shrink)

La primera comprensión husserliana de la evidencia en cuanto “vivencia de la verdad”, se ve reformulada en las Investigaciones lógicas con la consideración de la vivencia como mención –que implica una gradualidad de la dación y del cumplimiento– por la que es dada una objetividad. La reducción fenomenológica y los análisis noético-noemáticos que de ella resultan en Ideas I , manifiestan la remisión necesaria de toda conciencia modificada a la que da originariamente como fundamento primitivo de su legitimidad. Esta originariedad (...) del cumplimiento se ve determinada por una clase y estilo de evidencia propios de cada región de objetos. (shrink)

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

Diffusions in Architecture: Artificial Intelligence and Image Generators delves into the impact of Diffusion AI algorithms and generative image models on architecture design and aesthetics. The book presents an in-depth analysis of how these new technologies are revolutionizing the field of architecture. The architects presented in the book focus on the application of specific AI techniques and tools used in generative design, such as Diffusion models, Dall-E2, Stable Diffusion, and MidJourney. It discusses how these techniques can generate synthetic images that (...) are both realistic and imaginative, creating new possibilities for architectural design and aesthetics. This comprehensive overview of the impact of Diffusion AI algorithms and generative image models on the field of architecture shows how they are changing the way architects approach their work. With a foreword by Lev Manovich—artist, writer and one of the world's most influential digital culture theorists. Sharing the work and insights of a team of designers and theorists from a range of backgrounds, offering disciplinary depth, and covering the full impact of these tools and models on architecture, Diffusions in Architecture includes information on: Fresh perspectives on design and aesthetics, with designs, images, and commentary from 22 leading architects, theorists, and designersThe potential of prompt engineering and text-to-image models applicable to a broad interdisciplinary audienceWhether image generators, or AI in general, will be an aid for human design, or potentially displace humans from the market fundamentals of a larger debate in the architectural discourse (and practice) on the use of image generatorsCollecting the different ideas that have emerged in the field, Diffusions in Architecture provides architects, designers, concept artists, and theorists with an overview of this cornucopia of architectural imaginations produced in a common effort between humans and artificial intelligence. (shrink)

Neste ensaio apresento algumas considerações quanto à determinada passagem da obra On Certainty de Ludwig Wittgenstein. Meu objetivo ao apresentar estas considerações é analisar o argumento de Wittgenstein quanto às diferenças entre evidências para a verdade de uma afirmação. Wittgenstein usa como exemplo para discutir a relação entre evidências e circunstâncias o caso de contradição entre George Moore e que ele denomina por "os católicos". O interessante nesta discussão é que Wittgenstein afirma que Moore seria contraditado pelos católicos e não (...) "negado". A partir da contextualização desta discussão tento mostrar que existe uma ligação entre evidências para a verdade de uma afirmação e as circunstâncias particulares de onde retiramos estas evidências. Antes de incidir em relativismo quanto ao conhecimento, Wittgenstein nos mostra que as evidências são orientadas por nossa imagem de mundo. Para discutir este argumento apresento, primeiramente, uma contextualização da questão; num segundo passo discuto a contradição entre Moore e os Católicos. Minha intenção é mostrar que a contradição ocorre entre duas imagens de mundo. Por fim discuto e analiso a expressão "teria de me resignar" usada por Wittgenstein no que diz respeito à diferentes imagens de mundo que podem entrar em conflito. (shrink)

En este ensayo se trata de pensar cómo tiene que asumirse la posibilidad de una evidencia significativa toda vez que a nuestro quehacer lingüístico parece ser inherente moverse en un horizonte de usos en el que estamos arraigados. Se trata además de pensar cómo lo anterior pueda condicionar la realización de un quehacer fenomenológico. Para ello, en primer lugar, se distinguirán con claridad dos fenómenos: la posibilidad de la evidencia significativa, de un lado, y el arraigo horizóntico inherente a nuestro (...) quehacer discursivo, de otro. Al hilo de una discusión con Husserl y Wittgenstein se trata, en un segundo momento, de considerar cómo ambos fenómenos puedan venir asumidos de una manera fenomenológicamente congruente. This paper reflects on how the possibility of meaningful evidence is to be assumed in view that all our linguistic exercises take place in the context of a discursive horizon where we are situated. To do this, the paper starts distinguishing two phenomena: first, the possibility of meaningful evidence and second, the horizontal character that is inherent to the deployment of linguistic meaning. Furthermore, through a discussion with Husserl and Wittgenstein, the paper considers how those two phenomena are to be consistently assumed within phenomenology. (shrink)

Experiments are presented showing that visual search for Mueller-Lyer (ML) stimuli is based on complete configurations, rather than component segments. Segments easily detected in isolation were difficult to detect when embedded in a configuration, indicating preemption by low-level groups. This preemption—which caused stimulus components to become inaccessible to rapid search—was an all-or-nothing effect, and so could serve as a powerful test of grouping. It is shown that these effects are unlikely to be due to blurring by simple spatial filters (...) at early visual levels. It is proposed instead that they are due to more sophisticated processes that rapidly bind contour fragments into spatially-extended assemblies. These results support the view that rapid visual search cannot access the primitives formed at the earliest stages of visual processing; rather, it can access only higher-level, more ecologically-relevant structures. (shrink)

Visual thinking -- visual imagination or perception of diagrams and symbol arrays, and mental operations on them -- is omnipresent in mathematics. Is this visual thinking merely a psychological aid, facilitating grasp of what is gathered by other means? Or does it also have epistemological functions, as a means of discovery, understanding, and even proof? By examining the many kinds of visual representation in mathematics and the diverse ways in which they are used, Marcus Giaquinto argues (...) that visual thinking in mathematics is rarely just a superfluous aid; it usually has epistemological value, often as a means of discovery. Drawing from philosophical work on the nature of concepts and from empirical studies of visual perception, mental imagery, and numerical cognition, Giaquinto explores a major source of our grasp of mathematics, using examples from basic geometry, arithmetic, algebra, and real analysis. He shows how we can discern abstract general truths by means of specific images, how synthetic a priori knowledge is possible, and how visual means can help us grasp abstract structures. Visual Thinking in Mathematics reopens the investigation of earlier thinkers from Plato to Kant into the nature and epistemology of an individual's basic mathematical beliefs and abilities, in the new light shed by the maturing cognitive sciences. Clear and concise throughout, it will appeal to scholars and students of philosophy, mathematics, and psychology, as well as anyone with an interest in mathematical thinking. (shrink)

In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as (...) being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously. (shrink)

I argue that we sometimes visually perceive the intentions of others. Just as we can see something as blue or as moving to the left, so too can we see someone as intending to evade detection or as aiming to traverse a physical obstacle. I consider the typical subject presented with the Heider and Simmel movie, a widely studied ‘animacy’ stimulus, and I argue that this subject mentally attributes proximal intentions to some of the objects in the movie. I further (...) argue that these attributions are unrevisable in a certain sense and that this result can be used to as part of an argument that these attributions are not post-perceptual thoughts. Finally, I suggest that if these attributions are visual experiences, and more particularly visual illusions, their unrevisability can be satisfyingly explained, by appealing to the mechanisms which underlie visual illusions more generally. (shrink)

El objetivo principal de este artículo es diseñar un método para detectar qué cosas pueden considerarse “evidentes”. Comienza analizando cómo se ha entendido la evidencia en la tradición aristotélica y tomista hasta nuestros días. Después del estudio histórico, en el Capítulo III se procede a realizar un análisis sistemático de la noción de evidencia y sus clases. En este trabajo se descubren diez características que aparecen en las cosas evidentes (en las ideas, en los primeros principios, nociones más básicas, pruebas, (...) etc.). Definidas estas diez características, la forma de diseñar una prueba de evidencia resulta fácil. El Capítulo IV hace esto: primero se diseña un test negativo, que muestra que algún argumento no es evidente, y luego un test positivo, que indica que alguna idea, principio, prueba, etc. parece ser evidente. Terminamos este trabajo con algunas consideraciones sobre cómo este test-dual puede funcionar en la ciencia del derecho. (shrink)

Much attention has recently been paid to the idea, which I label ‘External World Acquaintance’ (EWA), that the phenomenal character of perceptual experience is partially constituted by external features. One motivation for EWA which has received relatively little discussion is its alleged ability to help deal with the ‘Explanatory Gap’ (e.g. Fish 2008, 2009, Langsam 2011, Allen 2016). I provide a reformulation of this general line of thought, which makes clearer how and when EWA could help to explain the specific (...) phenomenal nature of visual experience. In particular, I argue that by focusing on the different kinds of perceptual actions that are available in the case of visual spatial vs. colour perception, we get a natural explanation for why we should expect the specific nature of colour phenomenology to remain less readily intelligible than the specific nature of visual spatial phenomenology. (shrink)

According to so-called “thin” views about the content of experience, we can only visually experience low-level features such as colour, shape, texture or motion. According to so-called “rich” views, we can also visually experience some high-level properties, such as being a pine tree or being threatening. One of the standard objections against rich views is that high-level properties can only be represented at the level of judgment. In this paper, I first challenge this objection by relying on some recent studies (...) in social vision. Secondly, I tackle a different but related issue, namely, the idea that, if the content of experience is rich, then perception is cognitively penetrable. Against this thesis, I argue that the very same criteria that help us vindicate the truly sensory nature of our rich experiences speak against their being cognitively penetrable. (shrink)

Evidence from cognitive science supports the claim that humans and other animals see the world as divided into objects. Although this claim is widely accepted, it remains unclear whether the mechanisms of visual reference have representational content or are directly instantiated in the functional architecture. I put forward a version of the former approach that construes object files as icons for objects. This view is consistent with the evidence that motivates the architectural account, can respond to the key arguments (...) against representational accounts, and has explanatory advantages. I draw general lessons for the philosophy of perception and the naturalization of intentionality. (shrink)

In this article I introduce the notion of crucial evidence and I use it to shed light on an ongoing scholarly controversy in Hobbes studies, namely whether Hobbes holds a prudential or a deontological theory of contractual obligation. Even though there is important evidence for both readings, I argue that there is crucial evidence for interpreting Hobbes’s account in a deontological fashion.

I propose a new argument showing that conscious vision sometimes depends constitutively on conscious attention. I criticise traditional arguments for this constitutive connection, on the basis that they fail adequately to dissociate evidence about visual consciousness from evidence about attention. On the same basis, I criticise Ned Block's recent counterargument that conscious vision is independent of one sort of attention (‘cognitive access'). Block appears to achieve the dissociation only because he underestimates the indeterminacy of visual consciousness. I then (...) appeal to empirical work on the interaction between visual indeterminacy and attention, to argue for the constitutive connection. (shrink)

It has often been assumed that when we use vision to become aware of an object or event in our surroundings, this must be accompanied by a corresponding visual experience (i.e., seeing). The studies reported here show that this assumption is incorrect. When observers view a sequence of displays alternating between an image of a scene and the same image changed in some way, they often feel (or sense) the change even though they have no visual experience of (...) it. The subjective difference between sensing and seeing is mirrored in several behavioral differences, suggesting that these are two distinct modes of conscious visual perception. (shrink)