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

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

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

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

Visual Agnosia is a comprehensive and up-to-date review of disorders of higher vision that relates these disorders to current conceptions of higher vision from cognitive science, illuminating both the neuropsychological disorders and the nature of normal visual object recognition.Brain damage can lead to selective problems with visual perception, including visual agnosia the inability to recognize objects even though elementary visual functions remain unimpaired. Such disorders are relatively rare, yet they provide a window onto how the (...) normal brain might accomplish the complex task of vision. Visual Agnosia reviews a century of case studies of higher-level visual deficits following brain damage, places them in the general context of current neuroscience, and draws relevant conclusions about the organization of normal visual processing. It is unique in drawing on research in cognitive psychology, computational vision, visual neurophysiology, and neuropsychology to interpret the agnosias and draw inferences from them about visual object recognition.Following a historical account of agnosia research, Visual Agnosia offers a taxonomy of a wide range of agnosia syndromes, describing and interpreting the syndromes in terms of the latest theoretical models of visual processing and ultimately bringing them to bear as evidence on a variety of questions in the study of higher vision.Martha J. Farah is Associate Professor of Psychology at Carnegie Mellon University. Visual Agnosia is included in the Issues in Biology of Language and Cognition series, edited by John Marshall. (shrink)

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

I develop a theory of what we mean by the 'look' sentences that we use to describe our visual experiences, and on that basis develop a new adverbial theory of what it is to have a visual experience with a certain character.

Argues for a category of “cognitive feelings”, which are representationally significant, but are not part of the content of the states they accompany. The feeling of pastness in episodic memory, of familiarity (missing in Capgras syndrome), and of motivation (that accompanies desire) are examples. The feeling of presence that accompanies normal visual states is due to such a cognitive feeling; the “two visual systems” are partially responsible for this feeling.

First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book (...) has provoked considerable interest and debate - throughout both cognitive neuroscience and philosophy, while the field has continued to flourish and develop. -/- For this new edition, the text from the original edition has been left untouched, standing as a coherent statement of the authors' position. However, a very substantial epilogue has been added to the book in which Milner and Goodale review some of the key developments that support or challenge the views that were put forward in the first edition. The new chapter summarizes developments in various relevant areas of psychology, neuroscience and behaviour. It notably supplements the main text by updating the reader on the contributions that have emerged from the use of functional neuroimaging, which was in its infancy when the first edition was written. Neuroimaging, and functional MRI in particular, has revolutionized the field over the past 11 years by allowing investigators to plot in detail the patterns of activity within the visual brains of behaving and perceiving humans. The authors show how its use now allows scientists to test and confirm their proposals, based as they then were largely on evidence accrued from primate neuroscience in conjunction with studies of neurological patients. (shrink)

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

Our visual system can process information at both conscious and unconscious levels. Understanding the factors that control whether a stimulus reaches our awareness, and the fate of those stimuli that remain at an unconscious level, are the major challenges of brain science in the new millennium. Since its publication in 1984, Visual Masking has established itself as a classic text in the field of cognitive psychology. In the years since, there have been considerable advances in the cognitive neurosciences, (...) and a growth of interest in the topic of consciousness, and the time is ripe for a new edition of this text. Where most current approaches to the study of visual consciousness adopt a 'steady-state' view, the approach presented in this book explores its dynamic properties. This new edition uses the technique of visual masking to explore temporal aspects of conscious and unconscious processes down to a resolution in the millisecond range. The 'time slices' through conscious and unconscious vision revealed by the visual masking technique can shed light on both normal and abnormal operations in the brain. The main focus of this book is on the microgenesis of visual form and pattern perception - microgenesis referring to the processes occurring in the visual system from the time of stimulus presentation on the retinae to the time, a few hundred milliseconds later, of its registration at conscious or unconscious perceptual and behavioural levels. The book takes a highly integrative approach by presenting microgenesis within a broad context encompassing visuo-temporal phenomena, attention, and consciousness. (shrink)

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence (...) depends on the visual representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

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

Although the mechanics of how the eye works are well understood, debate still exists as to how the complex machinery of the brain interprets neural impulses...

Many who suffer from eating disorders claim that they see themselves as “fat”. Despite decades of research into the phenomenon, behavioural evidence has failed to confirm that eating disorders involve visual misperception of own-body size. I illustrate the importance of this phenomenon for our understanding of perceptual processing, outline the challenges involved in experimentally confirming it, and provide solutions to those challenges.

Visual number adaption is a widely accepted phenomenon. This paper advances an alternative explanation for putative cases of the phenomenon. We propose that such cases may simply reflect observers adapting to the items in perceived displays, rather than their numerical quantity. Three experiments motivate consideration of this novel proposal and call into question the evidential basis for received formulations of the number adaptation hypothesis.

La, V. P., & Vuong, Q. H. (2019). bayesvl: Visually learning the graphical structure of Bayesian networks and performing MCMC with ‘Stan’. The Comprehensive R Archive Network (CRAN).

Visual representations (photographs, diagrams, etc.) play crucial roles in scientific processes. They help, for example, to communicate research results and hypotheses to scientific peers as well as to the lay audience. In genuine research activities they are used as evidence or as surrogates for research objects which are otherwise cognitively inaccessible. Despite their important functional roles in scientific practices, philosophers of science have more or less neglected visual representations in their analyses of epistemic methods and tools of reasoning (...) in science. This book is meant to fill this gap. It presents a detailed investigation into central conceptual issues and into the epistemology of visual representations in science. (shrink)

In this article we explore the relationship between semiotic analysis of images and quantitative analysis of vast image corpora, in particular the work produced by Lev Manovich and the Cultural Analytics Lab, called “Media Visualization.” Media Visualization has been chosen as corpus because of its metavisual operation (images are visualized and analyzed by images) and its innovating way of conceiving analysis: by visual instruments. In this paper semiotics is used as an approach to Media Visualization and taken as an (...) object of study as well, especially visual semiotics. In this sense, a comparison between visual semiotics (close reading of small corpora) and quantitative analyses of images (distant reading of vast collections) are conducted from a semiotic point of view. Post-Greimassian semiotics guides this study with respect to the issue of the image-within-an-image and metavisual visualization; Peircean semiotics is employed to explain and develop the notion of diagram. (shrink)

Through extensive training, experts acquire specialized knowledge and abilities. In this paper, I argue that experts also acquire specialized visual experiences. Specifically, I articulate and defend the account that experts enjoy visual experiences that represent gestalt properties through perceptual learning. I survey an array of empirical studies on face perception and perceptual expertise that support this account. I also look at studies on perceptual adaptation that some might argue present a problem for my account. I show how the (...) data are subject to an interpretation that is friendly to it. Last, I address two theoretical objections to the claim that visual experiences represent gestalt properties. (shrink)

Recent work in "embodied, embedded" cognitive science links mental contents to large-scale distributed effects: dynamic patterns implicating elements of (what are traditionally seen as) sensing, reasoning and acting. Central to this approach is an idea of biological cognition as profoundly "action-oriented" - geared not to the creation of rich, passive inner models of the world, but to the cheap and efficient production of real-world action in real-world context. A case in point is Hurley's (1998) account of the profound role of (...) motor output in fixing the contents of conscious visual awareness - an account that also emphasizes distributed vehicles and long-range dynamical loops. Such stories can seem dramatically opposed to accounts, such as Milner and Goodale (1995), that stress relatively local mechanisms and that posit firm divisions between processes of visual awareness and of visuomotor action. But such accounts, I argue, can be deeply complimentary and together illustrate an important lesson. The lesson is that cognition may be embodied and action-oriented in two distinct - but complimentary - ways. There is a way of being embodied and action-oriented that implies being closely geared to the fine-grained control of low level effectors (hands, arms, legs and so on). And there is a way of being embodied and action-oriented that implies being closely geared to gross motor intentions, current goals, and schematic motor plans. Human cognition, I suggest, is embodied and action-oriented in both these ways. But the neural systems involved, and the size and scope of the key dynamic loops, may be quite different in each case. (shrink)

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

This paper defends the Content View: the thesis that all visual experiences have contents.

This new edition uses the technique of visual masking to explore temporal aspects of conscious and unconscious processes down to a resolution in the...

First published in 1995, The Visual Brain in Action remains a seminal publication in the cognitive sciences. For this new edition, a very substantial and illustrated epilogue has been added to the book in which Milner and Goodale review the key developments that support or challenge the views that were put forward in the first edition.

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

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

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence (...) depends on the visual representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

Several visual and emotional processes reflect similar underlying patterns of cortical activation. Characteristic individual perceptual style was measured by lateral attentional errors in a standard visual line-bisecting task. The direction of error indicates a predominance of activation in the contralateral prefrontal cortex. Individual differences in mood were measured by the self-endorsement of emotional adjectives. A total of 27 right-handed adults responded to the trait version of the Positive and Negative Affect Schedule (PANAS). As predicted, rightward errors in (...) class='Hi'>visual line bisecting correlated positively and significantly with the Positive Affect subscale. The scale adjectives determined and strong had significant correlations with the visual bisecting measure. The negative affect subscale was correlated with neither the line bisecting measure nor the positive subscale. An extension from trait to state measures tested the self-description of current affect using related synonyms and antonyms in a subset of 22 of the participants. Active, dominant, mighty, powerful, and strong were significantly associated with rightward bisecting errors, whereas passive and cooperative were correlated with errors in the opposite direction. The results were incompatible with the valence model (positive-negative), direction model (approach-withdrawal), and movement model (approach-resistance) of the lateral prefrontal substrate of emotion. The action tendency model (active approach-passive yielding) was supported. (shrink)

The thesis that we can visually perceive causal relations is distinct from the thesis that visual experiences can represent causal relations. I defend the latter thesis about visual experience, and argue that although they are suggestive, the data provided by Albert Michotte's experiments on perceptual causality do not establish this thesis. Turning to the perception of causality, I defend the claim that we can perceive causation against the objection that its arcane features are unlikely to be represented in (...) experience. (shrink)

How should we characterize the functional role of conscious visual experience? In particular, how do the conscious contents of visual experience guide, bear upon, or otherwise inform our ongoing motor activities? According to an intuitive and (I shall argue) philosophically influential conception, the links are often quite direct. The contents of conscious visual experience, according to this conception, are typically active in the control and guidance of our fine-tuned, real-time engagements with the surrounding three-dimensional world. But this (...) idea (which I shall call the Assumption of Experience-Based Control) is hostage to empirical fortune. It is a hostage, moreover, whose safety is in serious doubt. Thus Milner and Goodale (1995) argue for a deep and abiding dissociation between the contents of conscious seeing, on the one hand, and the resources used for the on-line guidance of visuo-motor action, on the other. This ‘dual visual systems’ hypothesis, which finds many echoes in various other bodies of cognitive scientific research, poses a prima facie challenge to the Assumption of Experience-Based Control. More importantly, it provides (I shall argue) fuel for an alternative and philosophically suggestive account of the functional role of conscious visual experience. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual (...) cultural education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

It is argued that seeing that P is a mode of knowing that P that is to be explained in terms of the exercise of visual-perceptual recognitional abilities. The nature of those abilities is described. The justification for believing that P, when one sees that P, is provided by the fact that one sees that P. Access to this fact is explained in terms of an ability to recognize of seen objects that one is seeing them. Reasons for resistance (...) to such an account are considered. The distinction between merely reasonable belief and well-founded belief is emphasised. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants (...) are presented with mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

In this paper I argue that causal relations between objects are represented in visual experience, and contrast my argument and its conclusion with Michotte's results from the 1960's.

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

This comprehensively updated and expanded revision of the successful second edition continues to provide detailed coverage of the ever-growing range of research topics in vision. In Part I, the treatment of visual physiology has been extensively revised with an updated account of retinal processing, a new section explaining the principles of spatial and temporal filtering which underlie discussions in later chapters, and an up-to-date account of the primate visual pathway. Part II contains four largely new chapters which cover (...) recent psychophysical evidence and computational model of early vision: edge detection, perceptual grouping, depth perception, and motion perception. The models discussed are extensively integrated with physiological evidence. All other chapters in Parts II, III, and IV have also been thoroughly updated. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)