A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth (...) can be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth (...) can be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

A broad, though not unanimous, consensus among commentators is that the later Wittgenstein subscribes to a redundancy conception of truth. I reject that interpretation. No doubt much depends on what is meant by a redundancy theory. But once even mildly plausible versions of that view are isolated a review of the relevant texts shows that the evidence for that interpretation collapses. Moreover, the redundancy interpretation is at odds with guiding prescriptions in the post‐1932 corpus. Wittgenstein doesn’t hold that truth (...) can be defined or characterized thinly, as redundancy theorists propose, but that it isn’t susceptible to any such generic treatment. (shrink)

What’s presented in our normal waking perceptual visual experiences feels present to us, while what we “see” in pictures and imagine does not. What about dreams? Does what we “see” in a dream feel present? Jennifer Windt has argued for an affirmative answer, for all dreams. But the dreams which flow from the brain’s registration of myoclonic twitches present a challenge to this answer. During these dreams motion-guiding vision is shut off, and, as Mohan Matthen has argued, (...) motion-guiding vision seems to be a key mechanism underlying the feeling of presence. I propose that the feeling of presence in fact involves two components: the feeling of immersion, and the feeling of availability for action. I suggest that only the feeling of availability for action derives from motion-guiding vision, and, hence, hypothesize that body-driven dreams lack this component to the feeling of presence. Finally, the distinction between these two varieties of presence has implications for measures of presence in virtual environments, as these measures can diverge over which of the two varieties they track. (shrink)

What is colour vision for? In the popular imagination colour vision is for “seeing the colours” — adding hue to the achromatic world of shape, depth and motion. On this view colour vision plays little more than an ornamental role, lending glamour to an otherwise monochrome world. This idea has guided much theorising about colour within vision science and philosophy. However, we argue that a broader approach is needed. Recent research in the psychology of colour (...) demonstrates that colour vision is integral to a variety of visual processes, helping us to perform many types of visual tasks. We discuss some of this research and consider its implications for philosophical theories of colour. (shrink)

In visual science the term filling-inis used in different ways, which often leads to confusion. This target article presents a taxonomy of perceptual completion phenomena to organize and clarify theoretical and empirical discussion. Examples of boundary completion (illusory contours) and featural completion (color, brightness, motion, texture, and depth) are examined, and single-cell studies relevant to filling-in are reviewed and assessed. Filling-in issues must be understood in relation to theoretical issues about neuralignoring an absencejumping to a conclusionanalytic isomorphismCartesian materialism, a (...) particular neural stage that forms the immediate substrate of perceptual experience enactiveanimatesubpersonal” considerations about internal processing, but rather by considerations about the task of vision at the level of the animal or person interacting with the world. (shrink)

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as The (...) Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)

Seeing, Doing, and Knowing is an original and comprehensive philosophical treatment of sense perception as it is currently investigated by cognitive neuroscientists. Its central theme is the task-oriented specialization of sensory systems across the biological domain. Sensory systems are automatic sorting machines; they engage in a process of classification. Human vision sorts and orders external objects in terms of a specialized, proprietary scheme of categories - colours, shapes, speeds and directions of movement, etc. This 'Sensory Classification Thesis' implies that (...) sensation is not a naturally caused image from which an organism must infer the state of the world beyond; it is more like an internal communication, a signal concerning the state of the world issued by a sensory system, in accordance with internal conventions, for the use of an organism's other systems. This is why sensory states are both easily understood and persuasive.Sensory classification schemes are purpose-built to serve the knowledge-gathering and pragmatic needs of particular types of organisms. They are specialized: a bee or a bird does not see exactly what a human does. The Sensory Classification Thesis helps clarify this specialization in perceptual content and supports a new form of realism about the deliverances of sensation: 'Pluralistic Realism' is based on the idea that sensory systems coevolve with an organism's other systems; they are not simply moulded to the external world. The last part of the book deals with reference in vision. Cognitive scientists now believe that vision guides the limbs by means of a subsystem that links up with the objects of physical manipulation in ways that bypass sensory categories. In a novel extension of this theory, Matthen argues that 'motion-guiding vision' is integrated with sensory classification in conscious vision. This accounts for the quasi-demonstrative form of visual states: 'This particular object is red', and so on. He uses this idea to cast new light on the nature of perceptual objects, pictorial representation, and the visual representation of space. (shrink)

The aim of this paper is to argue that action-guiding vision is not cognitively impenetrable and arguments that suggest otherwise rely on an unjustified identification between actionguiding vision and dorsal vision – a functional and an anatomical way of describing the mind. The examination of these arguments show the importance of making a distinction between the functional and the anatomical level when addressing the problem of cognitive penetrability.

Is action-guiding vision cognitively penetrable? More specifically, is the visual processing that guides our goal-directed actions sensitive to semantic information from cognitive states? This paper critically examines a recent family of arguments whose aim is to challenge a widespread and influential view in philosophy and cognitive science: the view that action-guiding vision is cognitively impenetrable. I argue, in response, that while there may very well be top–down causal influences on action-guiding vision, they should not (...) be taken to be an instance of cognitive penetration. Assuming otherwise is to assign a computational role to the influencing states that they cannot perform. Although questions about cognitive penetrability are ultimately empirical, the issues addressed in this paper are largely philosophical. The discussion here highlights an important set of considerations that help better understand the relations between cognition, vision, and action. (shrink)

According to Milner and Goodale’s dual visual systems (DVS) theory, a division obtains between visual consciousness and motor action, in that the visual system producing conscious vision (the ventral stream) is distinct from the one guiding action (the dorsal stream). That there would be this division is often taken (by Andy Clark and others) to undermine the folk view on how consciousness and action relate. However, even if this division obtains, this leaves open the possibility that con- scious (...) ventral information is often transmitted to the uncon- scious dorsal stream and then used to guide action, a possibility seeming to preserve a significant role for consciousness in action. This article assesses this possibility. In course of doing so, we will review those arguments recently having been made against the DVS view on how visual consciousness and action relate (ones due to, e.g., Briscoe and Schwenkler, or Schenk and McIntosh). What we will find is that, if we properly analyze the data upon which these arguments are based, we are still left with the impression that the DVS view is largely correct; i.e., it is only rarely that visual experience guides action. (shrink)

Human motion gesture recognition is the most challenging research direction in the field of computer vision, and it is widely used in human-computer interaction, intelligent monitoring, virtual reality, human behaviour analysis, and other fields. This paper proposes a new type of deep convolutional generation confrontation network to recognize human motion pose. This method uses a deep convolutional stacked hourglass network to accurately extract the location of key joint points on the image. The generation and identification part of (...) the network is designed to encode the first hierarchy and the second hierarchy and show the spatial relationship of human body parts. The generator and the discriminator are designed as two parts in the network, and they are connected together in order to encode the possible relationship of appearance and, at the same time, the possibility of the existence of human body parts and the relationship between each part of the body and its parental part coding. In the image, the key nodes of the human body model and the general body posture can be identified more accurately. The method has been tested on different data sets. In most cases, the results obtained by the proposed method are better than those of other comparison methods. (shrink)

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Cognitive Science, Volume 46, Issue 5, May 2022.

Computer vision is widely used in manufacturing, sports, medical diagnosis, and other fields. In this article, a multifeature fusion error action expression method based on silhouette and optical flow information is proposed to overcome the shortcomings in the effectiveness of a single error action expression method based on the fusion of features for human body error action recognition. We analyse and discuss the human error action recognition method based on the idea of template matching to analyse the key issues (...) that affect the overall expression of the error action sequences, and then, we propose a motion energy model based on the direct motion energy decomposition of the video clips of human error actions in the 3 Deron action sequence space through the filter group. The method can avoid preprocessing operations such as target localization and segmentation; then, we use MET features and combine with SVM to test the human body error database and compare the experimental results obtained by using different feature reduction and classification methods, and the results show that the method has the obvious comparative advantage in the recognition rate and is suitable for other dynamic scenes. (shrink)

This study is to explore the gesture recognition and behavior tracking in swimming motion images under computer machine vision and to expand the application of moving target detection and tracking algorithms based on computer machine vision in this field. The objectives are realized by moving target detection and tracking, Gaussian mixture model, optimized correlation filtering algorithm, and Camshift tracking algorithm. Firstly, the Gaussian algorithm is introduced into target tracking and detection to reduce the filtering loss and make (...) the acquired motion posture more accurate. Secondly, an improved kernel-related filter tracking algorithm is proposed by training multiple filters, which can clearly and accurately obtain the motion trajectory of the monitored target object. Finally, it is proposed to combine the Kalman algorithm with the Camshift algorithm for optimization, which can complete the tracking and recognition of moving targets. The experimental results show that the target tracking and detection method can obtain the movement form of the template object relatively completely, and the kernel-related filter tracking algorithm can also obtain the movement speed of the target object finely. In addition, the accuracy of Camshift tracking algorithm can reach 86.02%. Results of this study can provide reliable data support and reference for expanding the application of moving target detection and tracking methods. (shrink)

Human vision raises a number of puzzles. Among them are the puzzles of visual experience: how to provide a scientific understanding of the phenomenal character of the visual experiences of the shapes, textures, colors, orientations and motion of perceived objects? How can a purely subjective visual experience be the basis of so much objective knowledge of the world? Visually guided actions raise a different puzzle: how can actions directed towards a target be so accurate in the absence of (...) the agent’s awareness of many of the target’s visual attributes? Ways of Seeing has three related goals, the first of which is to make the case for a broadly representational approach to the above set of puzzles. The second goal of WoS is to argue that the version of the ‘two-visual systems’ model of human vision best supported by the current empirical evidence has the resources to solve the puzzle of visually guided actions, which has been at the center of much recent work in the cognitive neuroscience of vision and action. The third goal of WoS is to draw attention to some of the tensions between acceptance of the two-visual systems model of human vision and some influential views about the nature and function of the content of visual experience espoused by philosophers in response to the puzzles raised by visual experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine (...) technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine (...) technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Modern society has undergone a fundamental change to a society built around purposively established organizations. Social theory in this context can be a guide to social construction. Foundations of Social Theory is dedicated to this aim. Being oriented towards the design of social institutions it has to choose a voluntaristic, purposive theory of action and must make the behavior of social systems explainable in terms of the combination of individual actions. It has to deal with the emergence and maintenance of (...) norms and rights, the concepts of authority, trust, law and legitimacy, the viability of organizations and the efficiency of social systems. But more important than the specific points is the vision of a new role for social theory in an increasingly constructed social environment. This vision is the motivation behind Foundations of Social Theory. (shrink)

It is natural to assume that the fine-grained and highly accurate spatial information present in visual experience is often used to guide our bodily actions. Yet this assumption has been challenged by proponents of the Two Visual Systems Hypothesis , according to which visuomotor programming is the responsibility of a “zombie” processing stream whose sources of bottom-up spatial information are entirely non-conscious . In many formulations of TVSH, the role of conscious vision in action is limited to “recognizing objects, (...) selecting targets for action, and determining what kinds of action, broadly speaking, to perform” . Our aim in this study is to show that the available evidence not only fails to support this dichotomous view but actually reveals a significant role for conscious vision in motor programming, especially for actions that require deliberate attention. (shrink)

David Milner and Melvyn Goodale’s dissociation hypothesis is commonly taken to state that there are two functionally specialized cortical streams of visual processing originating in striate (V1) cortex: a dorsal, action-related “unconscious” stream and a ventral, perception-related “conscious” stream. As Milner and Goodale acknowledge, findings from blindsight studies suggest a more sophisticated picture that replaces the distinction between unconscious vision for action and conscious vision for perception with a tripartite division between unconscious vision for action, conscious (...) class='Hi'>vision for perception, and unconscious vision for perception. The combination excluded by the tripartite division is the possibility of conscious vision for action. But are there good grounds for concluding that there is no conscious vision for action? There is now overwhelming evidence that illusions and perceived size can have a significant effect on action (Bruno & Franz, 2009; Dassonville & Bala, 2004; Franz & Gegenfurtner, 2008; McIntosh & Lashley, 2008). There is also suggestive evidence that any sophisticated visual behavior requires collaboration between the two visual streams at every stage of the process (Schenk & McIntosh, 2010). I nonetheless want to make a case for the tripartite division between unconscious vision for action, conscious vision for perception, and unconscious vision for perception. My aim here is not to refute the evidence showing that conscious vision can affect action but rather to argue (a) that we cannot gain cognitive access to action-guiding dorsal stream representations, and (b) that these representations do not correlate with phenomenal consciousness. This vindicates the semi-conservative view that the dissociation hypothesis is best understood as a tripartite division. (shrink)

Luc Deneulin et Johan Swinnen se sont entretenus avec sept philosophes français et belges à propos de la philosophie qui entre dans les salles de cinéma. La caverne de Platon a permis de déchiffrer une partie du cerveau humain ; raconter des images sous la forme de films est demeuré pendant longtemps un phénomène inconnu et sous-estimé. Le résultat débouche sur un ouvrage surprenant qui fait la part belle à un certain nombre de films conventionnels ou non, présentant une diversité (...) inattendue de thèmes. Visions - Philosophie et cinéma nous fait comprendre comment chaque époque éprouve le besoin d'avoir ses propres films. Leur valeur ne semble pas dépendre des qualités esthétiques en elles-mêmes mais de leur impact sur le spectateur. Les penseurs qui se penchent sur les images de film nous amènent à une nature profonde et surprenante des images comme matière à penser et à la possibilité d'une réconciliation avec la vie grâce au réconfort de la beauté et de la profondeur de l'image. (shrink)

This practical and accessible guide tackles the challenges that busy childcare educators face with their mental health in what is a wonderful, rewarding, but often exhausting role. Drawing from 'day-in-the-life' experiences and case studies, this book sets out high-quality staff wellbeing practices that can revolutionise the way childcare practitioners approach their job and their own health. Chapters guide the reader through a process of reflection and development, encouraging and empowering them to create a workplace culture that positively contributes to their (...) personal wellbeing. This book: Focuses on the realities of early years education, combining the authors' lived experience with examples of real-life practice; Encourages educators to think and feel positively about themselves; to identify the individual skills, strengths and talents they bring to their work; Can be used individually or collaboratively by team members, with guidance on creating a positive workplace culture with a shared vision, core values and beliefs. Essential reading for anybody who finds that the job they love can sometimes leave them feeling worn out, stressed and depleted, this book has been written to enrich the lives of all training and practising early years educators. (shrink)

This article examines how the interactive capabilities of companion robots, particularly their materiality and animate movements, appeal to human users and generate an image of aliveness. Building on Husserl’s phenomenological notion of a ‘double body’ and theories of emotions as affective responses, we develop a new understanding of the robots’ simulated aliveness. Analyzing empirical findings of a field study on the use of the robot Zora in care homes for older people, we suggest that the aliveness of companion robots is (...) the result of a combination of four aspects: 1) material ingredients, 2) morphology, 3) animate movements guided by software programs and human operators as in Wizard of Oz-settings and 4) anthropomorphising narratives created by their users to support the robot’s performance. We suggest that narratives on affective states, such as, sleepiness or becoming frightened attached to the robot trigger users’ empathic feelings, caring and tenderness toward the robot. (shrink)

This guide leads readers systematically through the arguments of Mary Shepherd's two books. Chapters 1-4 cover the arguments in the Essay Upon the Relation of Cause and Effect (1824), where Shepherd argues that causal principles can be known by reason to be necessary truths and that causal inferences can be rationally justified. Shepherd's primary target in this work is Hume, but she also addresses the views of Thomas Brown and William Lawrence. Shepherd considered her second book, Essays on the Perception (...) of an External Universe, and Other Subjects Connected with the Doctrine of Causation (1827), to be an extension of the earlier project on causation; here she appeals to the causal principles established in the first book to argue that we can know through reason that an external world of continually-existing objects must exist independently of us, as the causes of our sensations. Chapter 5 of this Guide addresses Shepherd's accounts of sensation and reasoning; Chapters 6-9 lead the reader through the arguments of the Essays, as well laying out Shepherd's views on skepticism and Berkeleyan idealism, her accounts of mind and body, her philosophy of religion, and the solutions she offers to two puzzles about vision. (shrink)

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of an oppositely moving world. To (...) show this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

Dynamically transforming the elements of any performing artist’s craft, this practical guide is a must-have for musicians, dancers, and actors. The handbook shows how artistic performance is embodied in the unification of three critical elements—motion, emotion, and love—demonstrating how it offers experiences and opportunities distinct from the nonperforming arts. Step-by-step guidelines are provided for building intentional and inspirational practice time, thereby enhancing the relationships between the source, the performer, and the audience. Illustrating how intentional movement invokes emotions from both (...) the performer and the audience and how the concept of love gives a performance humanity and life, this eye-opening exploration creates pathways for achieving true artistry. (shrink)

Abstract. A rhesus monkey, Helen, from whom the striate cortex was almost totally removed, was studied intensively over a period of 8 years. During this time she regained an effective, though limited, degree of visually guided behaviour. The evidence suggests that while Helen suffered a permanent loss of `focal vision she retained (initially unexpressed) the capacity for `ambient vision.

In _Action in Perception _Alva No develops and presents a sensorimotor account of vision and of visual consciousness. According to such an account seeing (and indeed perceiving more generally) is analysed as a kind of skilful bodily activity. Such a view is consistent with the emerging emphasis, in both philosophy and cognitive science, on the critical role of embodiment in the construction of intelligent agency. I shall argue, however, that the full sensorimotor model faces three important challenges. The first (...) is to negotiate a path between two prima facie unsatisfactory readings of the central claim that conscious perceptual experience is constituted by knowledge of patterns of sensorimotor dependence. The second is to convince us that the sensorimotor contribution, in such cases, is actually constitutive of perceptual experience rather than merely causally implicated in the origination of such experience.² And the third is to respond to the important challenge raised by what I will dub 'sensorimotor summarizing' models of the relation between conscious experience and richly detailed sensorimotor routines. According to such models³ conscious perceptual experience only rather indirectly reflects the rich detail of our actual sensorimotor engagements, which are instead lightly sampled as a coarse guide, optimized for planning and reasoning, and geared and filtered according to current needs and purposes. (shrink)

Insect vision is nothing if not active. The regular head movements, called saccades, enable the fly Drosophila to keep a straight path in flight despite inequalities in the thrust of the wings. Using their own motion, bees in flight measure the ranges of nearby objects. A long history of research shows that bees discriminate visually in ways that depend on their activity or task, so we must distinguish between vision during flying, fixating or hovering and landing.Bees return (...) again and again for a reward of sugar solution and use their eyes to find their way. In an apparatus that makes them discriminate between two simulataneously visible but regularly interchanged targets, seen at a distance of 27 cm, bees are able to distinguish a remarkable number of simple patterns, but they fail in certain critical cases. The results can be explained with the hypothesis that bees have several broadly tuned overlapping filters with large fields that respond to the predominant orientation in a region of the image, and others for radial and circular patterns. Together with colour, these filters are independent of range. Bees prefer to use landmarks where they can, then global pattern at the largest scale, and lastly the detail around the goal. The way that discrimination of one visual feature is independent of other variables can be explained by models analogous to the colour triangle in colour discrimination. (shrink)

The present proposal is an approach to the vision, cosmogony and philosophy of the Totonacapan people, and particularly with the inhabitants of the Totonacapan region in Veracruz Mexico, a town whose wisdom is manifested to this day, in the conservation of customs and traditions , as well as the hierarchy of collective desire that seeks health, well-being and peace in the region, are guides in the evolution of their cultural processes, where a closeness, respectful and deep with Mother Nature (...) stands out. This wisdom by the Council of Elders, transmitted to the new generations, by the Supreme Council of Totonacapan who seek share the basis to understand and conceive the current world, from the ancestral vision and cosmogony to identify their space, thought, spirituality and in the building your social context. In the Totonacapan region, the first pre-hispanic population concentrations were located around 1259 to 1311. Already by the year 1450, there is a record of incursions and the conquest of Totonaca territory, by the Mexica, establishing a relationship of domain and subordination. As a result of the presence of "Mexica" in the Totonaco territory, there was an imposition of customs and language, since in some areas they begin to speak in Nahuatl, resulting in the presence of a bilingualism (Nahuatl-Totonac) , situation that persists, until the encounter with the Spaniards in the year of 1519. At present, the Totonacapan region includes the area that extends from the Cazones River to the north, to the towns of Gutiérrez Zamora and Tecolutla, in the State of Veracruz in Mexico. 2 The importance of the document is that it constitutes an invitation to deepen and understand the vision of the inhabitants of Totonacapan, in the construction of their social context and their connection with nature, as part of an ancient culture, which creates and recreates their vision, in the search for the feeling of belonging and as an inheritance of the children of thunder (Tajin), as well as the need to preserve the benefits that nature itself offers them, seeking a peaceful and harmonious coexistence, in the social and environmental environment. However, the preservation of its history, tradition and philosophy of life, contrast with public policy strategies, particularly in the social sphere, and which are aimed at achieving economic development in the fight against multidimensional poverty and marginalization, all Once they have not incorporated into them, the feeling and living of the relationship between individual and nature, as the guiding axis, of the philosophy of the Totonacapan people. What is sustainability for the people of Totonacapan? What is social justice in the search for sustainability? And what is your concept of justice in sustainability and human development? From the vision and philosophy of the people of Totonacapan, as part of the history and tradition of the children of thunder "Tajin" and in whose worldview, he is responsible for regulating the rain, climate and life of the people of the region. How does the people of Totonacapan live and live in the face of the maelstrom of actions that, from public policy, that seek human development? How do you adjust, your way of life and how do you adapt to the requirements, which from the perspective of justice, are required to contribute to the objectives of the 2030 development agenda? This document is an effort to learn and recognize one of the most important millenary cultures in Mexico, in the construction of a more inclusive vision of the social development of the Totonacapan people, which invites us to reflect on the direction and scope of this response. (shrink)

A Guide to Plato's Republic provides an integral interpretation of the Republic that is accessible even to readers approaching Plato's masterwork for the first time. Written at a level understandable to undergraduates, it is ideal for students and other readers who have little or no background in philosophy or political theory. Rice anticipates their inevitable reactions to the Republic and treats them seriously, opening the way to an appreciation of the complexities of the text without oversimplifying it. While many books (...) on the Republic never stray far from explicating Plato's text, this work contrasts Plato's responses to perennial issues in philosophy and political theory with those of several key subsequent thinkers. It uses engaging examples to show the continuing relevance of Plato's arguments and introduces some basic vocabulary of philosophy and political theory, going beyond terse dictionary definitions by illustrating what technical terms mean in the context of Plato's work. The author's interpretative posture is appreciative but respectfully critical of Plato's vision. Stressing the relationship between Plato's politics and metaphysics, Rice argues that Plato's reluctance to accept the reality and consequences of finitude accounts for much of what many readers find objectionable in his politics. Lively, relatively brief, and designed to provoke discussion in the classroom, A Guide to Plato's Republic is ideal for political theory and introduction to philosophy courses as well as other courses that assign the Republic as a primary text. (shrink)

Au moment de décrire la fonction des yeux humains, qui sont donnés par les dieux afin que l’on puisse déduire la philosophie et le nombre à partir de la rotation du firmament, Timée interrompt son récit pour développer son explication des mécanismes physiques sous‑jacents à la fois à la vision et à tout type de mouvement et de changement. Il est intéressant de noter que, dans le contexte du Timée dans son ensemble, la chôra ne semble pas indispensable. Par (...) exemple, l’explication de la nécessité impliquant les types corporels de base et leurs isotopes et composés aurait pu s’effectuer assez facilement avec la simple affirmation des quatre solides réguliers, de leurs mouvements réguliers et des deux triangles élémentaires dont ils sont composés. Je soutiens dans cet article que si nous regardons la chôra dans le contexte du récit antérieur du mouvement d’errance des planètes, dont on dit qu’elles encadrent et font ressortir le nombre et l’identité du mouvement des étoiles fixes, et que si nous comparons cela à la décomposition des triangles élémentaires dans le contexte de la vie et de la mort du corps doté d’une âme, nous pourrons discerner la chôra dans le mouvement errant du vieillissement, de l’effondrement et de l’éloignement de la limite normative dans le récit plus large de la vie dans le Timée, tant au niveau biologique que moral de la description. Cette approche permettra de rendre compte non seulement de l’unité de la pensee de Timée, mais aussi du caractère disruptif du tournant remarquable par lequel il introduit la cause errante. (shrink)

Vision is so closely identified with visual phenomenology that we sometimes forget that the visual system does more than deliver our experience of the world. Vision also plays a critical role in the control of our movements, from picking up our coffee cups to playing tennis. But the visual control of movement has, until recently, been relatively neglected. Indeed, traditional accounts of vision, while acknowledging the role of vision in motor control, have simply regarded such control (...) as part of a larger function—that of constructing an internal model of the external world. Even though such accounts might postulate separate ‘modules’ for the processing of different visual features, such as motion, colour, texture, and form, in most of these accounts there is an implicit assumption that, in the end, vision delivers a single representation of the external world—a kind of simulacrum of the real thing that serves as the perceptual foundation for all visually driven thought and action. (shrink)