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"Visual perception Philosophy."
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The perceptual structure of three-dimensional art
This book deals with philosophical aspects regarding the perception of spatial relationships in two and three-dimensional art. It provides a structural understanding of how art is perceived within the space created by the artwork, and employs a mapping sentence and partial order mereology to model perceptual structure. It reviews the writing of philosophers such as Paul Crowther and art theorists such as Krauss to establish the need for this research. The ontological model established Paul Crowther is used to guide an interactive account of his ontology in the interpretations of the perceptual process of three-dimensional abstract art to allow the formulation of a more comprehensive philosophical account. The book uniquely combines structuralist and post-structuralist approaches to artistic perception and understanding with a conceptual structure from facet theory, which is clarified with the help of a mapping sentence and partial order mereology.
Book
Perceptual filling-in and the resonant binding of distributed cortical representations
Pessoa et al. (1998a) summarize a wide body of data suggesting that perceptual filling-in phenomena can be attributed to neural filling-in processes. However, they reject, on philosophical grounds, the hypothesis that filled-in representations in the brain are the immediate substrate of visual percepts. It is proposed in this commentary that resonant binding between distributed cortical areas may instead be the crucial ingredient for conscious visual percepts, and that filling-in processes may facilitate the interactions between behaving organisms and object surfaces. These suggestions circumvent some of the philosophical problems associated with the idea of localized visual representations.
Journal Article
Visual art and education in an era of designer capitalism : deconstructing the oral eye
\"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, Rancière, 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\"-- Provided by publisher.
Book
Filling-in: One or many?
(1) The main issue with regard to modal and amodal completion is not which phenomena are cognitive, and which perceptual. At the level of the animal, both are visuo-cognitive. At the level of visual processing, however, we need to dissect the different functional effects of these kinds of completion. (2) Resonant binding between distributed cortical areas may play a role in perceptual completion, but evidence is needed.
Journal Article
Visuo-cognitive disambiguation of occluded shapes
Pessoa et al. (1998a) underexposed the broad and rich variety of stimuli in the amodal completion domain. The disambiguation of occluded shapes depends on very specific figural properties. Elaborations on such disambiguations of rich and complex stimuli, tied up with a visuo-cognitive origin of amodal completion, further position Pessoa et al.'s considerations on neural filling-in and the personal-subpersonal distinction.
Journal Article
The innocent eye : why vision is not a cognitive process
\"Why does the world look to us as it does? Generally speaking, this question has received two types of answers in the cognitive sciences in the past fifty or so years. According to the first, the world looks to us the way it does because we construct it to look as it does. According to the second, the world looks as it does primarily because of how the world is. In The Innocent Eye, Nico Orlandi defends a position that aligns with this second, world-centered tradition, but that also respects some of the insights of constructivism. Orlandi develops an embedded understanding of visual processing according to which, while visual percepts are representational states, the states and structures that precede the production of percepts are not representations. If we study the environmental contingencies in which vision occurs, and we properly distinguish functional states and features of the visual apparatus from representational states and features, we obtain an empirically more plausible, world-centered account. Orlandi shows that this account accords well with models of vision in perceptual psychology -- such as Natural Scene Statistics and Bayesian approaches to perception -- and outlines some of the ways in which it differs from recent 'enactive' approaches to vision. The main difference is that, although the embedded account recognizes the importance of movement for perception, it does not appeal to action to uncover the richness of visual stimulation. The upshot is that constructive models of vision ascribe mental representations too liberally, ultimately misunderstanding the notion. Orlandi offers a proposal for what mental representations are that, following insights from Brentano, James and a number of contemporary cognitive scientists, appeals to the notions of de-coupleability and absence to distinguish representations from mere tracking states\"-- Provided by publisher.
Book
The objective eye
“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium.\"—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. John Hyman’s The Objective Eye is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? The Objective Eye explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find The Objective Eye challenging and absorbing.
eBook
Perception, Hallucination, and Illusion
The idea of a disjunctive theory of visual experiences first found expression in J. M. Hinton's pioneering 1973 book Experiences. The first monograph in this exciting area since then, this book develops a comprehensive disjunctive theory, incorporating detailed accounts of the three core kinds of visual experience—perception, hallucination, and illusion—and an explanation of how perception and hallucination could be indiscriminable from one another without having anything in common. In the veridical case, it contends that the perception of a particular state of affairs involves the subject's being acquainted with that state of affairs, and that it is the subject's standing in this acquaintance relation that makes the experience possess a phenomenal character. It argues that when we hallucinate, we are having an experience that, while lacking phenomenal character, is mistakenly supposed by the subject to possess it and shows how this approach is compatible with empirical research into the workings of the brain. It concludes by offering a novel treatment of the many different types of illusion that we can be subject to, which accounts for many illusions, not as special cases of either veridical perception or hallucination but rather as mixed cases that involve elements of both.
eBook