Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...) identification, but not detection. Both contrast and font influenced subjective fluency. These findings suggest that speed of processing at different stages condensed into a unified subjective experience of perceptual fluency. (shrink)

Teleosemantic theories of representation are often criticized as being “too liberal”, i.e. as categorizing states as representations which are not representational at all. Recently, a powerful version of this objection has been put forth by Tyler Burge. Focusing on perception, Burge defends the claim that all teleosemantic theories apply too broadly, thereby missing what is distinctive about representation. Contra Burge, I will argue in this paper that there is a teleosemantic account of perceptual states that does not fall prey to (...) this problem, and that we can arrive at this account by combining some of Burge’s insights with a producer-oriented version of teleosemantics. The resulting theory turns out to be attractive and perfectly coherent. By contrast, the coherence of Burge’s own anti-teleosemantic approach becomes quite doubtful under closer examination—or so I will argue. (shrink)

This article identifies the structural and conceptual aspects of a visual construction often used in advertisements to establish a metaphoric or associative relation, that is, symmetric object alignment (SOA). It offers an account of the formal ingredients of SOA, which fall into two groups: object-constitutive factors (like size, shape, and color) and object-depictment factors (like perspective, orientation, and distance from viewing point). Both factors allow us to treat SOA as a visual rhetorical scheme. We also discuss how SOA relates (...) to conceptual structure, metaphoric or otherwise. Four types of relations are distinguished, based on the way in which perceptual and conceptual characteristics interact. Finally, we discuss the way in which these characteristics relate to the processing of such visual messages. One depictment factor will be focused on in particular: one-to-one versus one-to-many alignments. An attempt is made to connect these 2 patterns to the much-discussed topic in verbal metaphor theory, object comparison versus categorization. (shrink)

This thesis offers a fresh interpretation and defense of epistemological disjunctivism about perceptual knowledge. I adopt a multilevel approach according to which perceptual knowledge on one level can enjoy factive rational support provided by perceptual knowledge of the same proposition on a different level. Here I invoke a distinction Ernest Sosa draws between ‘judgmental’ and ‘merely functional’ belief to articulate what I call the bifurcated conception of perceptual knowledge. The view that results is a form of epistemological disjunctivism about perceptual (...) knowledge specifically at the higher judgmental level, layered over a straightforward externalism about perceptual knowledge at the lower merely functional level. The first chapter orients the reader to epistemological disjunctivism— with particular emphasis on the ‘reflective epistemological disjunctivism’ defended by Duncan Pritchard with inspiration from John McDowell. Here I review the arguments for thinking such a proposal true, as well as highlight some problems and three emerging challenges for the view: what I call the internalist challenge, the new access challenge, and the ‘new evil genius’ challenge. These challenges largely inspire the chapters to follow. In the second chapter I present the positive proposal: a fresh interpretation of epistemological disjunctivism in terms of perceptual knowledge at the specifically judgmental level. I argue that this is a modification that epistemological disjunctivists should adopt since it inoculates their view against the internalist challenge: the challenge of explaining why perception should provide one with knowledge by providing one with motivating reasons for belief. In the third chapter I motivate the view further in connection with the more familiar ‘basis problem’ for epistemological disjunctivism. I argue that this approach supports a unique strategy for solving that problem: one that is consistent both with what is known as ‘the entailment’ thesis and the thought that we can reduce perceptual knowledge to a kind of rationally supported belief. In the fourth chapter I move to playing defense. I defend the proposal against the so-called ‘new evil genius’ challenge. This is the challenge to explain why subjects in pairs of ‘good’ and ‘bad’ cases can seem equally justified for sustaining their perceptual beliefs. I argue that what we are being sensitive to here, rather, is the fact that both subjects can be equally epistemically responsible and/or reasonable for believing what they do. Before concluding this chapter I also offer an error theory. In the fifth chapter I defend the proposal against the new access challenges raised in chapter one. These alleged challenges for epistemological disjunctivism arise specifically for versions of reflective epistemological disjunctivism that hold that one’s rational support for perceptual beliefs is not only factive but reflectively accessible as well. Rather than address the challenges head on, I try to dislodge the thought they depend upon—viz., that one’s factive rational support for perceptual beliefs is reflectively accessible to the subject. Here I argue that the reflective accessibility of one’s factive rational support is actually a wheel turning idly in the debate with the underdetermination-based radical sceptic—so that we can simply drop it without consequence. The result is an epistemological disjunctivism that is immune to access problems. I then offer a final summary and conclude. At the end of this thesis I have attached an appendix, which is an excursion into religious epistemology and an exploration of a form of religious epistemological disjunctivism. Here I apply the epistemological disjunctivist insight to the case of religious perception in order to defend the idea that one can offer independent rational support for theistic belief by appealing to religious beliefs that are justified on the basis of religious experiences. This appendix chapter is in keeping with the general spirit of the thesis insofar as it seeks to developed epistemological disjunctivism in new and fruitful directions. (shrink)

In visual information processing, two kinds of vision are distinguished: vision-for-perception related to the conscious identifi cation of objects, and vision-for-action that deals with visual control of movements. Neuroscience suggests that these two functions are performed by two separate brain neural systems - the ventral and dorsal pathways. Two experiments using behavioural measures were conducted with the objective of exploring any potential interaction between these two functions of vision. The aim was to combine in one task methods allowing for the (...) simultaneous capture of both perceptual global processing and affordance extraction and to check whether they infi uence each other. This aim was achieved by employing the paradigms of Navon and Tucker and Ellis. A compound fi gure was created made up of objects with handles that might or might not have orientation congruent between levels. The results revealed that while the affordance effect occurred every time, the Navon effect appeared only when subjects focused their attention on object elements responsible for inconsistence within compound fi gure. Most importantly, even when these two effects occurred at once, they had no effect on each other. Results from the study failed to confi rm the hypothesis about interaction and gives support to the view that vision-for-perception and vision-for-action tend to act as separate systems. (shrink)

: This commentary focuses on the scientific status of perceptual projection-a central feature of Pereira’s projective theory of consciousness. In his target article, he draws on my own earlier work to develop an explanatory framework for integrating first-person viewable conscious experience with the third-person viewable neural correlates and antecedent causes that form conscious experience into a bipolar structure that contains both a sense of self and a sense of the world. I stress that perceptual projection is a psychological effect and (...) list many of the ways it has been studied within experimental psychology, for example in studies of depth perception in vision and audition and experiences of depth arising from cues arranged on two-dimensional surfaces in stereoscopic pictures, 3D cinemas, holograms, and virtual realities. I then juxtapose Pereira’s explanatory model with two other models that have similar aims and background assumptions but different orientations, Trehub’s Retinoid model, which focuses largely on the neural functioning of the visual system, and Rudrauf et al’s Projective Consciousness Model, which draws largely on projective geometries to specify the requirements of organisms that need to navigate a three-dimensional world, and how these might be implemented in human information processing. Together, these models illustrate both converging and diverging approaches to understanding the role of projective processes in human consciousness. Resumo: Este comentário enfoca o status científico da projeção perceptiva - uma característica central da teoria da consciência de Pereira. Em seu artigo alvo, ele recorre ao meu trabalho anterior para desenvolver uma estrutura explicativa para integrar a experiência consciente visível em primeira pessoa com os correlatos neurais visíveis de terceira pessoa e as causas antecedentes que formam a experiência consciente em uma estrutura bipolar que contém tanto um sentido de eu e um sentido do mundo. Enfatizo que a projeção perceptiva é um efeito psicológico e relaciono modalidades de seu estudo na psicologia experimental, por exemplo em estudos de percepção de profundidade em visão e audição, experiências de profundidade em superfícies bidimensionais em imagens estereoscópicas, cinemas 3D, hologramas e realidades virtuais. Eu então justaponho o modelo explicativo de Pereira com dois outros modelos que têm objetivos e suposições similares, mas orientações diferentes, o modelo do sistema retinóide de Trehub, que se concentra principalmente no funcionamento neural do sistema visual, e o modelo de consciência projetiva de Rudrauf et al., que estabelece raciocínios geométricos para especificar os requisitos de organismos que precisam navegar em um mundo tridimensional, e como eles podem ser implementados no processamento de informação no contexto humano. Juntos, esses modelos ilustram abordagens convergentes e divergentes para compreender o papel dos processos projetivos na consciência humana. (shrink)

I argue that perceptual content involves representations both of aspects of objects, and of objects themselves, whether at the level of conscious perception, or of low-level perceptual processing - a double content structure. I present an 'orientational' theory of the relations of the two kinds of perceptual content, which can accommodate both the general semantic possibility of perceptual misrepresentation, and also species of it involving characteristic perceptual confusions of aspectual and intrinsic content. The resulting theoretical structure is argued to be (...) a broadly methodological or logical one, rather than a substantive theory that is open to empirical refutation. (shrink)

To investigate the possible dichotomy between the neurophysiological bases of perceptual transitions versus sustaining a particular percept over time, an fMRI study was conducted with subjects viewing fragmented pictures. Unlike most other perceptually unstable stimuli, fragmented pictures give rise to only one perceptual transition and a continuous period of sustained perception. Earlier research is inconclusive on the subject of which anatomical regions should be attributed to what temporal aspect of perception, and the aim of the present study was to shed (...) more light on the subject. In this study occipitotemporal and fronto-parietal regions were found to be activated for both aspects. However, regions in the medial-temporal lobe were activated specifically for transitions, whereas medial and dorsolateral prefrontal regions were activated specifically for sustained perception. These results provide further support for the theory that the initial creation of perceptual awareness and upholding perceptual awareness over time are separate processes involving different brain regions. (shrink)

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

Although symmetry has been discussed in terms of a major law of perceptual organization since the early conceptual efforts of the Gestalt school (Wertheimer, Metzger, Koffka and others), the first quantitative measurements testing for effects of symmetry on processes of Gestalt formation have seen the day only recently. In this study, a psychophysical rating study and a “foreground”-“background” choice response time experiment were run with human observers to test for effects of bilateral symmetry on the perceived strength of figure-ground in (...) triangular Kanizsa configurations. Displays with and without bilateral symmetry, identical physically-specified-to-total contour ratio, and constant local contrast intensity within and across conditions, but variable local contrast polarity and variable orientation in the plane, were presented in a random order to human observers. Configurations with bilateral symmetry produced significantly stronger figure-ground percepts reflected by greater subjective magnitudes and consistently higher percentages of “foreground” judgments accompanied by significantly shorter response times. These effects of symmetry depend neither on the orientation of the axis of symmetry, nor on the contrast polarity of the physical inducers. It is concluded that bilateral symmetry, irrespective of orientation, significantly contributes to the, largely sign-invariant, visual mechanisms of figure-ground segregation that determine the salience of figure-ground in perceptually ambiguous configurations. (shrink)

Contemporary scientific and philosophical literature on perception often focuses on the relationship between perception and action, emphasizing the ways in which perception can be understood as geared towards action or ‘action-oriented’. In this paper I provide a framework within which to classify approaches to action-oriented perception, and I highlight important differences between the distinct approaches. I show how talk of perception as action-oriented can be applied to the evolutionary history of perception, neural or psychological perceptual mechanisms, the semantic content or (...) phenomenal character of perceptual states, or to the metaphysical nature of perception. I argue that there are no straightforward inferences from one kind of action-oriented perception to another. Using this framework and its insights, I then explore the notion of action-oriented perceptual representation which plays a key role in some approaches to embodied cognitive science. I argue that the concept of action-oriented representation proposed by Clark and Wheeler is less straightforward than it might seem, because it seems to require both that the mechanisms of perceptual representation are action-oriented and that the content of these perceptual representations are action-oriented. Given that neither of these claims can be derived from the other, proponents of action-oriented representation owe us separate justification for each claim. I will argue that such justifications are not forthcoming in the literature, and that attempts to reconstruct them run into trouble: the sorts of arguments offered for the representational mechanisms being action-oriented seem to undermine the sorts of arguments offered for the representational content being action-oriented, and vice-versa. (shrink)

: Thoreau's journal contains a number of passages which explore the nature of perception, developing a response to skeptical doubt. The world outside the human mind is real, and there is nothing illusory about its perceived beauty and meaning. In this essay, I draw upon the work of Stanley Cavell (among others) in order to frame Thoreau's reflections within the context of the skeptical questions he seeks to address. Value is not a subjective projection, but it also cannot be perceived (...) without the appropriate kind of emotional orientation or attunement toward the world: that is, an attitude of trust or acceptance. Without this affective receptivity, or "perceptual faith," our knowledge of reality is limited. The beliefs we hold onto in the face of objective uncertainty establish the framework within which we make particular evaluations, and in this sense they are a necessary condition of practical reason. Every understanding has its mood. (shrink)

In a series of articles, Jacob Beck proposed that a variety of texture segmentation phenomena occurs due to emergent features that arise from “links” between elements with appropriate local properties, such as alignment, orientation, and proximity. His findings and ideas guided theoretical and computational models, and some of his demonstrations became textbook knowledge about visual perception. We build on this work in two ways. First, we provide a modern replication of a classic texture segmentation study using a much larger (...) sample size. Overall, the replication agrees with Beck’s original findings, although there are some quantitative differences. Second, we show how to apply a quantitative model of visual cortex to Beck’s experiment and demonstrate that the model can explain many aspects of Beck’s findings. Key to the model’s success is cognitive control of connections between individual elements (akin to Beck’s “links” between elements) and a selection mechanism that makes it easy to identify how well elements within a region connect and how well different regions are disconnected. Overall, the model supports Beck’s claim that local properties can facilitate patterns of connections between stimulus elements and that some connection patterns allow an observer to easily distinguish textures. (shrink)

I aim to provide some evidence that Husserl’s description of perceptual updating actually fits very nicely into the Bayesian Brain paradigm, articulated by Karl Friston and others, and that that paradigm, in turn, can be taken as an excellent example of “Neurophenomenology”. The apparently un-phenomenological Helmholtzian component of the Bayesian Brain paradigm, according to which what one consciously seems to see is a product of unconscious causal reasoning to the best explanation of one’s sensory stimulations, can be finessed, I claim, (...) in a way that makes it compatible with a phenomenological orientation. I begin by roughly characterizing the Bayesian Brain paradigm as it relates to perceptual cognition. I then show how Husserl’s descriptions of the conscious perceptual process relate to the paradigm. I conclude with some considerations about how to understand the relation between conscious and unconscious brain process in the present case and in relation to Neurophenomenology generally. (shrink)

Research investigating listeners’ neural sensitivity to speech sounds has largely focused on segmental features. We examined Australian English listeners’ perception and learning of a supra-segmental feature, pitch direction in a non-native tonal contrast, using a passive oddball paradigm and electroencephalography. The stimuli were two contours generated from naturally produced high-level and high-falling tones in Mandarin Chinese, differing only in pitch direction ( Liu and Kager, 2014 ). While both contours had similar pitch onsets, the pitch offset of the falling contour (...) was lower than that of the level one. The contrast was presented in two orientations (standard and deviant reversed) and tested in two blocks with the order of block presentation counterbalanced. Mismatch negativity (MMN) responses showed that listeners discriminated the non-native tonal contrast only in the second block, reflecting indications of learning through exposure during the first block. In addition, listeners showed a later MMN peak for their second block of test relative to listeners who did the same block first, suggesting linguistic (as opposed to acoustic) processing or a misapplication of perceptual strategies from the first to the second block. The results also showed a perceptual asymmetry for change in pitch direction: listeners who encountered a falling tone deviant in the first block had larger frontal MMN amplitudes than listeners who encountered a level tone deviant in the first block. The implications of our findings for second language speech and the developmental trajectory for tone perception are discussed. (shrink)

Samuel Todes’s book, Body and World, makes an important contribution to the current debate among analytic philosophers concerning non–conceptual intentional content and its relation to thought. Todes’s relevant theses are: (1) Our unified, active body, in moving to meet our needs, generates a unified, spatio–temporal field. (2) In that field we use our perceptual skills to make the determinable perceptual objects that show up relatively determinate. (3) Once we have made the objects of practical perception determinate, we can make ‘practical (...) perceptual judgements’ about them. Such ‘judgements’ have conditions of satisfaction, but they are non–conceptual in that they are a way of coping with an actual object in this situation, from this point of view, in this light, in this orientation, and so forth. (4) By withholding our activity, however, we can transform our practical perception into a detached, spectatorial perception of qualities that are experienced as independent of the object they qualify. (5) Thanks to our conceptual imagination, we can then treat these qualities as reidentifiable properties of reidentifiable objects that can be entertained by thought. (shrink)

We investigate the role of perceptual similarity in visual metaphor comprehension process. In visual metaphors, perceptual features of the source and the target are objectively present as images. Moreover, to determine perceptual similarity, we use an image-based search system that computes similarity based on low-level perceptual features. We hypothesize that perceptual similarity at the level of color, shape, texture, orientation, and the like, between the source and the target image facilitates metaphorical comprehension and aids creative interpretation. We present three (...) experiments, two of which are eye-movement studies, to demonstrate that in the interpretation and generation of visual metaphors, perceptual similarity between the two images is recognized at a subconscious level, and facilitates the search for creative conceptual associations in terms of emergent features. We argue that the capacity to recognize perceptual similarity—considered to be a hallmark of creativity—plays a major role in the creative understanding of metaphors. (shrink)

By analyzing descriptions of illusory and nonillusory figures, Richer called into question the common assumption that illusory and nonillusory perceptions were experientially the same and differed only in terms of their accuracy. The present study attempted to replicate Richer's work with a focus on identifying within the subjects' descriptions any orienting attitudes corresponding to these two forms of perception. Nineteen student volunteers were asked to describe two illusory figures and a nonillusory control of similar complexity. The descriptions revealed consistent differences (...) between the two forms. However, the Hering and Zollner figures were not always described in illusory terms, and surprisingly, several subjects described the control as if it were illusory. Further, perceptual accuracy was not guaranteed by nonillusory experience. Subjects described the figures from within one of three different orienting attitudes-atomizing, representational, and geometrical-organizing. The latter attitude appeared necessary for the phenomena of illusory perception and experience. Though the present findings confirmed Richer's distinction between illusory and nonillusory experience, they also indicate the need for further differentiation- illusory perception versus illusory experience. Finally, the findings also supported Luria's and Segall, Campbell, and Herskovits's position on the importance of particular cultural and educational experiences and codes in relation to perceptual illusions. (shrink)

Previous studies making use of indirect processing measures have shown that perceptual grouping can occur outside the focus of attention. However, no previous study has examined the possibility of subliminal processing of perceptual grouping. The present work steps forward in the study of perceptual organization, reporting direct evidence of subliminal processing of Gestalt patterns. In two masked priming experiments, Gestalt patterns grouped by proximity or similarity that induced either a horizontal or vertical global orientation of the stimuli were presented (...) as masked primes and followed by visible targets that could be congruent or incongruent with the orientation of the primes. The results showed a reliable priming effect in the complete absence of prime awareness for both proximity and similarity grouping principles. These findings suggest that a phenomenal report of the Gestalt pattern is not mandatory to observe an effect on the response based on the global properties of Gestalt stimuli. (shrink)

The relation between conscious recollection and source memory for perceptual details was investigated in three experiments that combined the remember–know paradigm with a multidimensional source monitoring test. Experiment 1 replicated that source memory for perceptual details is better in the case of “remember” than “know” judgments. Experiment 2 showed that the relation between “remember” judgments and source memory for perceptual details is diminished by a semantic orienting task during encoding. Experiment 3 demonstrated that “remember” judgments are related to enhanced source (...) memory for specific and unique kinds of perceptual source information, whereas memory for incomplete and global perceptual source information does not differentiate between “remember” and “know” judgments. The results show that the attentional focus during encoding and the specificity of retrieved source information form boundary conditions for the use of source memory for perceptual details as a basis of “remember” judgments. (shrink)

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

Although philosophers may first find it odd to speak of norms in the context of perception, the argument for normativity finds support in the writings of some of the spearheads of the phenomenological tradition, amongst them Edmund Husserl and Maurice Merleau-Ponty. As Maren Wehrle argues however, a phenomenological analysis of perception’s normative claim requires that we redefine our traditional conception of norms as authoritative standards or prescriptive moral guidelines. To this end, as she points out, the origin of the concept (...) of norm in architecture can be illuminating because it refers to a measure or guideline which emerges out of “practical motivations” and serves to “facilitate cooperative and intersubjective communication.” In her view, prior to any theoretical or moral engagement with the world, certain sets of norms already play a role at an embodied, pre-reflexive level and account for our ability to orientate ourselves in the intersubjective lifeworld. My interest in the concept of norms stems from such a comprehension, and attempts to unfold and clarify some of its implications for perception in general. My goal in this paper is thus to address one of the key interpretations of perceptual norms in Merleau-Pontian scholarship and to suggest a new reading of their role in the Phenomenology of Perception (1945), through the lense of interest and temporality. (shrink)

The view that posterior brain systems engaged in lower-order perceptual functions are activated during sustained retention is challenged by fMRI data, which show consistent retention-related activation of higher-order memory representations for a variety of working-memory materials. Sustained retention entails the dynamic link of these higher-order memories with schemata for goal-oriented action housed by the frontal lobes.

Deviant workplace behaviors (DWB) cause enormous costs to organizations, sparking considerable interest among researchers and practitioners to identify factors that may prevent such behavior. Drawing on the theory of moral development, we examine the role of ethics-oriented human resource management (HRM) systems in mitigating DWB, as well as mechanisms that may mediate and moderate this relationship. Based on 232 employee-supervisor matched responses generated through a multi-source and multi-wave survey of 84 small and medium enterprises (SMEs) in Pakistan, our multilevel analysis (...) found that ethics-oriented HRM systems relate negatively to employee DWB via the mediation of perceptual and reflective moral attentiveness. This indirect relationship is further moderated by two societal-inequality induced factors – employee gender and income level – such that the indirect effects of ethics-oriented HRM systems on DWB through perceptual and reflective moral attentiveness are stronger among women and lower-income employees. (shrink)

In higher-level cognitive tasks, older compared to younger adults show a bias towards positive emotion information and away from negative information (a positivity effect). It is unclear whether this effect occurs in early perceptual processing. This issue is important for determining if the positivity effect is due to automatic rather than controlled processing. We tested this with older and younger adults on a positive/negative face emotion valence classification task using masked priming. Positive (happy) and negative (angry) face targets were preceded (...) by masked repetition or valence primes with neutral face baselines. In Experiment 1, 30 younger and 30 older adults were tested with 50 ms primes. Younger adults showed repetition priming for both positive and negative targets. Older adults showed repetition priming for positive but not negative targets. Neither group showed valence priming. In Experiment 2, 30 older and 29 younger adults were tested with longer duration primes. Younger adults showed repetition priming for both positive and negative emotions, and no valence priming. Older adults only showed repetition and valence priming for positive targets. We proposed older adults’ lack of angry face priming was due to an early attention orienting strategy favouring happy expressions at the expense of angry ones. (shrink)

Our research aimed to investigate the effectiveness of auditory, visual, and audiovisual warning signals for capturing the attention of the pilot, and how stimulus onset asynchronies in audiovisual stimuli affect pilots perceiving the bimodal warning signals under different perceptual load conditions. In experiment 1 of the low perceptual load condition, participants discriminated the location of visual targets preceded by five different types of warning signals. In experiment 2 of high perceptual load, participants completed the location task identical to a low (...) load condition and a digit detection task in a rapid serial visual presentation stream. The main effect of warning signals in two experiments showed that visual and auditory cues presented simultaneously could effectively and efficiently arouse the attention of the pilots in high and low load conditions. Specifically, auditory, AV, and visual preceding auditory stimulus by 100 ms increased the spatial orientation to a valid position in low load conditions. With the increase in visual perceptual load, auditory preceding the visual stimulus by 100 ms and A warning signals had stronger spatial orientation. The results are expected to theoretically support the optimization design of the cockpit display interface, contributing to immediate flight crew awareness. (shrink)

Differences and similarities between modal and amodal completions can only be understood by considering the goals of visual completion: unity, shape, and perceptual quality. Pessoa et al. cannot reject representational accounts of vision because of flaws with isomorphic representations of perceptual quality: representations and processes for perceptual quality (modal completion) and most likely dissociable from those for unity and shape (nonmodal completions).

This paper seeks to integrate analytic philosophy and phenomenology. It does so through an approach generated, specifically, in relation to imagination and its cognitive significance. As an Introduction, some reservations about existing phenomenological approaches to imagination—in the work of Sartre and Edward S. Casey—are considered. It is argued that their introspective psychological approach needs to be qualified through a more analytic orientation that determines essence, initially, on the basis of public discourse concerning the term ‘imagination.’ Part One then articulates (...) this orientation through an ‘analytic reduction’ that identifies imagination’s essence in public discourse as thought in its quasi-sensory mode. Part Two offers a sustained phenomenological investigation of this essence, and identifies four major intrinsic features. On the basis of this, Part Three shows how imagination is implicated, centrally, in the capacity to acquire language. In Conclusion the proceeding arguments are defended against possible objections, and a final key summarizing argument is formulated to show that imagination must be regarded, also, as necessary to perception and its capacity to articulate a world. The paper ends with a few thoughts on the further potential of post-analytic phenomenology. (shrink)

In this paper, I suggest an aesthetic model that is consistent with anti-foundational scientific knowledge. How has an aesthetics without foundation to be configured? In contrast to the conventional subject/object model, with idealistic and subjective aesthetics, but also with object-oriented assumptions, I suggest that aesthetics has to be characterized as relational aesthetics in terms of process-oriented perception and that this leads to an _Aesthetics Without Objects_ (AWO) approach. The relational nature of processes means that they do not happen _inter_-, that (...) is, between ontologically delimited and stable entities, but rather they _correspond_ between relations. I will try to show that AWO matches well with the onto-phenomenological-epistemic and relational models proposed by recent theories in different fields of science, especially in the relational interpretation of quantum physics. The field of aesthetics, then, does not indicate perceptual fixed contents—either subjective or objectual properties—rather it emerges from a correspondence occurring in an engaged and situated perceptual movement, an _agencing_ that is prior to any sharp distinction between a perceiver and a perceived. I propose to call _haptic_ this perceptual agencing. In the first section, I describe the reasons according to which the adoption of AWO seems more correct and advisable, both with respect to contemporary scientific models and to the current ecological changes on the planet. In the second section, I portray some characteristics of AWO. In the third section, I argue that AWO calls for haptic perception. In the fourth section, I briefly draw some meta-aesthetics consequences concerning, on the one side, socio-political issues of AWO and, on the other side, the possibility for a theory in an anti-foundational model. I conclude with a proposal: a process-oriented aesthetics approach has to be understood mainly as an _art of thinking_. This means rethinking and re-evaluating the idea of aesthetics as an _artisan thought_. (shrink)

My intention in writing this article is to illustrate how I engage with the process of orienting to the meaning of pedagogy by inquiring into several moments in my life where I am able to fully experience its um. I begin this phenomenological inquiry by plunging into my experience on a teeter-totter as a young child, and use the sense of ups and downs as a metaphor for the tensions of weight and weightlessness, comfort and challenge that characterize the pedagogical (...) world. I then attempt to gain a more perceptual understanding of pedagogy by narrowing in on the suspended moment, which becomes a metaphor for the pedagogical moments of support, vulnerability, and opening that emanate from this tension. In these particular moments, I am able to dwell in the spaces in-between my everyday ups and downs and become existentially conscious and pedagogically connected to the world around me. By metaphorically connecting each of these moments to my teeter-totter experience, I illustrate how embracing the tensions of life and allowing myself to dwell in a suspended moment, deepens my perceptual understanding of pedagogy and influences my current pedagogical practice as a new teacher and master’s student. (shrink)

This article places Henry Corbin’s concept of creative imagination in conversation with the French phenomenological tradition. Section I explores Corbin’s phenomenological method and his view of the imaginal world, drawn from his interpretations of Suhrawardī and Ibn ‘Arabī. Section II then places this concept in conversation with the early Jean-Paul Sartre’s “annihilative” imagination and Maurice Merleau-Ponty’s critique of it. This section argues that Corbin needs a strong distinction like Sartre’s between imagination and perception but also that he could be seen (...) as agreeing partly with Merleau-Ponty’s critique of Sartre. What Corbin ultimately maintains, as the article’s conclusion argues, is that our access to the distinctive imaginal world enables a characteristic duality to arise in all perceptual life, a duality that is required if we are to be able to relate to perception either critically or charitably. (shrink)

In this paper, I aim to explain Peter John Olivi’s technical notion of “aspectus.” More specifically, I distinguish different uses of this notion by Olivi, not all of which have been made clear in the secondary literature, in order to help resolve a prima facie tension in the way Olivi puts together his active theory of cognition and his direct account of cognition (or “direct realism”). In brief, the issue is that Olivi builds his active theory of cognition out of (...) the commitment that the body cannot, strictly speaking, act as an efficient cause to produce an act of cognition in the spiritual soul; so, in order to account for soul-body interaction, Olivi will often speak of the soul having a seemingly one-way aspectus or orientation towards the body so that the soul can respond appropriately to changes in the body. However, given Olivi’s commitment to direct realism, the aspectus of cognition should go directly to the external object when, e.g., perceiving a present object. So, I take it Olivi must have some sort of distinction in mind between types of aspectūs in order to avoid contrariety. In short, my view is that by distinguishing between conscious/cognitive and non conscious/non-cognitive sorts of aspectūs in Olivi, one can understand how an aspectus towards inner corporeal changes can still contribute to direct cognition of external objects. Moreover, I take it that Olivi’s discussion of another technical notion, the mode of connection or “colligantia” between soul and body, provides further evidence for my interpretation. (shrink)

This chapter presents an account of Merleau-Ponty’s interpretation of the body schema as an operative intentionality that is not only opposed to, but also complexly intermingled with, the representation-like grasp of the world and one’s own body, or the body image. The chapter reconstructs Merleau-Ponty’s position primarily based on his preparatory notes for his 1953 lecture ‘The Sensible World and the World of Expression’. Here, Merleau-Ponty elaborates his earlier efforts to show that the body schema is a perceptual ground against (...) which the perceived world stands out as a complex of perceptual figures. The chapter clarifies how Merleau-Ponty’s renewed interpretation of the figure-ground structure makes it possible for him to describe the relationship between body schema and perceptual (body) image as a strictly systematic phenomenon. Subsequently, the chapter shows how Merleau-Ponty understands apraxia, sleep, and perceptual orientation as examples of dedifferentiation and subtler differentiation of the body-schematic system. The last section clarifies how such body-schematic differentiating processes give rise to relatively independent superstructures of vision and symbolic cognition which constitute our body image. It, moreover, explains how, according to Merleau-Ponty, the cognitive superstructures always need to be supported by praxic operative intentionality to maintain their full sense, even though, in some cases, they have the power to compensate for praxic deficiencies. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution (...) of the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is not logically (...) prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The.. (shrink)

Perceptual representations have distal content: they represent external objects and their properties, not light waves or retinal images. This basic fact presents a fundamental problem for ‘input-oriented’ theories of perceptual content. As I show in the first part of this paper, this even holds for what is arguably the most sophisticated input-oriented theory to date, namely Karen Neander's informational teleosemantics. In the second part of the paper, I develop a new version of informational teleosemantics, drawing partly on empirical psychology, and (...) partly on philosophical considerations. I shall argue that this version has all the virtues of Neander's original theory, but also the further crucial advantage of being able to account for the distality of perceptual content. (shrink)

Perceptual conscious experiences result from non-conscious processes that precede them. We document a new characteristic of the cognitive system: the speed with which visual meaningful stimuli are prioritized to consciousness over competing noise in visual masking paradigms. In ten experiments (N = 399) we find that an individual's non-conscious visual prioritization speed (NVPS) is ubiquitous across a wide variety of stimuli, and generalizes across visual masks, suppression tasks, and time. We also find that variation in NVPS is unique, in that (...) it cannot be explained by variation in general speed, perceptual decision thresholds, short-term visual memory, or three networks of attention (alerting, orienting and executive). Finally, we find that NVPS is correlated with subjective measures of sensitivity, as they are measured by the Highly Sensitive Person scale. We conclude by discussing the implications of variance in NVPS for understanding individual variance in behavior and the neural substrates of consciousness. (shrink)

Perceptual experiences have been construed either as representational mental states—Representationalism—or as direct mental relations to the external world—Disjunctivism. Both conceptions are critical reactions to the so-called ‘Argument from Hallucination’, according to which perceptions cannot be about the external world, since they are subjectively indiscriminable from other, hallucinatory experiences, which are about sense-data ormind-dependent entities. Representationalism agrees that perceptions and hallucinations share their most specific mental kind, but accounts for hallucinations as misrepresentations of the external world. According to Disjunctivism, the phenomenal (...) character of perceptions is exhausted by worldly objects and features, and thus must be different from the phenomenal character of hallucinations. Disjunctivism claims that subjective indiscriminability is not the result of a common experiential ground, but is because of our inability to discriminate, from the inside, hallucinations from perceptions. At first sight, Representationalism is more congenial to the way cognitive science deals with perception. However, empirically oriented revisions of Disjunctivism could be developed and tested by giving a metacognitive account of hallucinations. Two versions of this account can be formulated, depending on whether metacognition is understood as explicit metarepresentation or as implicit monitoring of first-order informational states. The first version faces serious objections, but the second is more promising, as it embodies a more realistic view of perceptual phenomenology as having both sensory and affective aspects. Affectbased phenomenology is constituted by various metacognitive feelings, such as the feeling of being perceptually confronted with the world itself, rather than with pictures or mere representations. (shrink)

Orienting biases for speech may provide a foundation for language development. Although human infants show a bias for listening to speech from birth, the relation of a speech bias to later language development has not been established. Here, we examine whether infants' attention to speech directly predicts expressive vocabulary. Infants listened to speech or non-speech in a preferential listening procedure. Results show that infants' attention to speech at 12 months significantly predicted expressive vocabulary at 18 months, while indices of general (...) development did not. No predictive relationships were found for infants' attention to non-speech, or overall attention to sounds, suggesting that the relationship between speech and expressive vocabulary was not a function of infants' general attentiveness. Potentially ancient evolutionary perceptual capacities such as biases for conspecific vocalizations may provide a foundation for proficiency in formal systems such language, much like the approximate number sense may provide a foundation for formal mathematics. (shrink)

I argue for the following claims: (1) A core Husserlian account of perceptual constancy needs to be given in terms of indicative future-oriented conditionals but can be complemented by a counterfactual account; (2) thus conceived, constancy is a necessary aspect of content. I speak about a “core Husserlian” account so as to capture certain ideas that Michael Madary has presented as the core of Edmund Husserl's approach to perceptual constancy, viz., that “perception is partly constituted by the continuous interplay of (...) intention and fulfilment” and that this “gives us a way to understand the relationship between different appearances of the same object” (See Madary, M. (2012) “Husserl on Perceptual Constancy.” European Journal of Philosophy 20(1): 145–165.). I take myself to be developing, and perhaps correcting, Madary's view as I discuss the role of the core Husserlian ideas, and counterfactuals, in accounting for shape and color constancy, respectively. I bridge constancy and fulfilment-conditional content by appealing to the Husserlian notion of constitution, which captures the process in which objectivity and, correlatively, intentional experience, are built up in the experiential flow. (shrink)