The book analyses the differences between the mathematical interpretation and the phenomenological intuition of the continuum.

Speech categories are defined by multiple acoustic dimensions and their boundaries are generally fuzzy and ambiguous in part because listeners often give differential weighting to these cue dimensions during phonetic categorization. This study explored how a listener's perception of a speaker's socio-indexical and personality characteristics influences the listener's perceptual cue weighting. In a matched-guise study, three groups of listeners classified a series of gender-neutral /b/-/p/ continua that vary in VOT and F0 at the onset of the following vowel. (...) Listeners were assigned to one of three prompt conditions and rated the talker in terms of vocal gender prototypicality, attractiveness, friendliness, confidence, trustworthiness, and gayness. Male listeners and listeners who saw a male face showed less reliance on VOT compared to listeners in the other conditions. Listeners' visual evaluation of the talker also affected their weighting of VOT and onset F0 cues, although the effects of facial impressions differ depending on the gender of the listener. The results demonstrate that individual differences in perceptual cue weighting are modulated by the listener's gender and his/her subjective evaluation of the talker. These findings lend support for exemplar-based models of speech perception and production where socio-indexical features are encoded as a part of the episodic traces in the listeners' mental lexicon. This study also shed light on the relationship between individual variation in cue weighting and community-level sound change by demonstrating that VOT and onset F0 co-variation in North American English has acquired a certain degree of socio-indexical significance. (shrink)

Anticipation plays an essential role in the perception of the empirical reality. Music, because of its purely dynamical nature, is a privileged environment for the study of anticipation processes. In this chapter, we firstly discuss the current viewpoint on anticipation in music perception and the meaning of anticipation structures in general. Then we present a descriptive study of how melodies are experienced inside the psychic present, analyzing a series of musical excerpts alongside selected pictorial analogues. Focusing on the dynamic patterns (...) shared by auditory and visual modalities, we discuss the nature of perceptual continua and their boundaries in the subjective space-time. (shrink)

Multimodal integration is the formation of a coherent percept from different sensory inputs such as vision, audition, and somatosensation. Most research on multimodal integration in speech perception has focused on audio-visual integration. In recent years, audio-tactile integration has also been investigated, and it has been established that puffs of air applied to the skin and timed with listening tasks shift the perception of voicing by naive listeners. The current study has replicated and extended these findings by testing the effect of (...) air puffs on gradations of voice onset time along a continuum rather than the voiced and voiceless endpoints of the original work. Three continua were tested: bilabial (“pa/ba”), velar (“ka/ga”), and a vowel continuum (“head/hid”) used as a control. The presence of air puffs was found to significantly increase the likelihood of choosing voiceless responses for the two VOT continua but had no effect on choices for the vowel continuum. Analysis of response times revealed that the presence of air puffs lengthened responses for intermediate (ambiguous) stimuli and shortened them for endpoint (non-ambiguous) stimuli. The slowest response times were observed for the intermediate steps for all three continua, but for the bilabial continuum this effect interacted with the presence of air puffs: responses were slower in the presence of air puffs, and faster in their absence. This suggests that during integration auditory and aero-tactile inputs are weighted differently by the perceptual system, with the latter exerting greater influence in those cases where the auditory cues for voicing are ambiguous. (shrink)

A series of unnoticeably small changes in an observable property may add up to a noticeable change. Crispin Wright has used this fact to prove that perceptual indiscriminability is a non-transitive relation. Delia Graff has recently argued that there is a 'tension' between Wright's assumptions. But Graff has misunderstood one of these, that 'phenomenal continua' are possible; and the other, that our powers of discrimination are finite, is sound. If the first assumption is properly understood, it is not (...) in tension with but is actually implied by the second, given a plausible physical assumption. (shrink)

How internal categories influence how we perceive the world is a fundamental question in cognitive sciences. Yet, the relation between perceptual awareness and perceptual categorization has remained largely uncovered so far. Here, we addressed this question by focusing on face perception during subliminal and conscious perception. We used morphed continua between two face identities and we assessed, through a masked priming paradigm, the perceptual processing of these morphed faces under subliminal and supraliminal conditions. We found that (...) priming from subliminal faces followed linearly the information present in the primes, while priming from visible faces revealed a non-linear profile, indicating a categorical processing of face identities. Our results thus point to a special relation between perceptual awareness and categorical processing of faces, and support the dissociation between two modes of information processing: a subliminal mode involving analog treatment of stimuli information, and a supraliminal mode relying on discrete representation. (shrink)

A critical issue in perception is the manner in which top‐down expectancies guide lower level perceptual processes. In speech, a common paradigm is to construct continua ranging between two phonetic endpoints and to determine how higher level lexical context influences the perceived boundary. We applied this approach to music, presenting participants with major/minor triad continua after brief musical contexts. Two experiments yielded results that differed from classic results in speech perception. In speech, context generally expands the category (...) of the expected stimuli. We found the opposite in music: The major/minor boundary shifted toward the expected category, contracting it. Together, these experiments support the hypothesis that musical expectancy can feed back to affect lower‐level perceptual processes. However, it may do so in a way that differs fundamentally from what has been seen in other domains. (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)

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve conflict between competing stimulus-related (...) representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

Introduction 11 PART I: THE HALLE YEARS Chapter One: The Rehabilitation of the Imagination in Husserl’s Early Thought. 17 §1. Brentano’s Rehabilitation of Intentionality and the Problem of Imagination. §2. Husserl and the Breakthrough of Phenomenology. §2.1 The Meaning-Bestowing Act as ‘the Peg from which Everything hangs.’ §2.2 Consciousness is not a Container. §2.3 ‘A Difference that cannot be Phenomenologically Reduced.’ §3. Imagination as an Authentic, Intuitive Intentionality. PART II: THE GÖTTINGEN YEARS Chapter Two: Irreconcilable Differences: Imagination and Image Consciousness. (...) 71 §1. Separations, Convergences, and Goodbyes §2. A nothing in the midst of things that sees me. §3. Wrestling with the angel of Imagination. §4. Images of Productive Phantasy. Chapter Three: The Garden of the Forking Paths: On Time Consciousness. 107 §1. Picking up an Ancient Cross. §2. Continuum of Continua. §3. In Search of Time Lost. Chapter Four: Absence and the Absolute: The Revisions of Phantasy and Time-Consciousness. 143 Recapitulation: Cutting loose the baggage of the ‘Content for an Apprehension and Apprehension’ Schema. §1. The Concept of an Absolute Consciousness and the Embedment of Contents. §2. Transcendental Phenomenology and the Opening Up of a Closed Field. §3. The Breakthrough on the Contents of Consciousness. §3.1. ‘Consciousness through and through’ §3.2. Ambiguities of Immanence. §4. Primary and Secondary Memory revisited. §5. The New Account of Internal Time Consciousness. Chapter Five: The Breakthrough of the Life of Phantasy: Recollection and Pure Phantasy. 187 §1. Introducing the Pure Ego. §2. The Pending Problem of Belief in Presentifications. §3. Recollection and Internal Time Consciousness. §3.1. The Characterization of Recollection as Consciousness ‘Once Again’ following the Revision of the Schema. §3.2. Recollection as a Modified Appearance and a Directedness toward the Past Object. §3.3. Recollection as the Reproductive Modification of the Internal Consciousness of a Past Act. §4. The Differentiation of Recollection and Pure Phantasy on the basis of Internal Time-Consciousness. PART III: THE FREIBURG YEARS AND BEYOND Chapter Six: The Subject in Image: Husserl’s Revisiting of Image-Consciousness. 239 §1. Introducing the Concept of Perceptual Phantasy. §2. The Subject in Image. §3. Is There Temporality in Image?. §4. Revisiting the Theory of Image-consciousness as Depiction. §5. Pictoriality and Phantasy Temporality. Chapter Seven: ‘Myth that is Truest Memory:’ Phantasy and the Literary Work of Art. 303 §1. Theater and Drama. §2. Is the Literary Work of Art Itself Imaginary? §3. The Literary Work as an Idea with a Temporality. §4. Phantasy and the Consciousness of Possibility. Parting Words on Poetry and Philosophy. Bibliography: 361. (shrink)

According to the guise of the good, a desire for P represents P as good in some respect. ‘Perceptualism’ further claims that desires involve an awareness of value analogous to perception. Perceptualism explains why desires justify actions and how desires can end the regress of practical justification. However, perception paradigmatically represents the actual environment, while desires paradigmatically represent prospective states. An experience E is an awareness of O when the nature of E depends on the nature of O. How could (...) desires depend on the merely possible? Extant perceptualist accounts have not adequately addressed this question. I propose a novel account of how desires can be an awareness of value. An awareness of value involves the successful exercise of a capacity to discriminate value out of non-evaluative representations. The resulting content and phenomenology of such a desire depends in the right way on the value properties of the desired state. An agent requires the right view of the non-evaluative features of a state to discriminate its evaluative features. I argue that imaginings are uniquely able to provide such a view, and so enable value discriminations. My account retains the epistemological attractions of perceptualism despite the disanalogy between desire and perception. (shrink)

In this paper, I advance a new hypothesis about what the ordinary concept of perceptual experience might be. To a first approximation, my hypothesis is that it is the concept of something that seems to present mind-independent objects. Along the way, I reveal two important errors in Michael Martin’s argument for the very different view that the ordinary concept of perceptual experience is the concept of something that is impersonally introspectively indiscriminable from a veridical perception. This conceptual work (...) is significant because it provides three pieces of good news for the common kind theorist. (shrink)

Sexuality and sexual desire remain tantalizing conundrums for the universalizing intellect, desirous of comprehending the human condition even in its most unconditional manifestations. The representation of sexuality in the history of art is of course ubiquitous. But our equivocal familiarity with this subject matter, whether through attraction or repulsion, too often goes unacknowledged as an opportunity for reflecting upon the bounds of our subjectivity with unusually rigorous candor. This speculative failure is nowhere more conspicuous then in our attempts to make (...) aesthetic judgments with respect to representations of sexuality while ignoring our intuitional complicity in the perceptual grounds adduced by such.. (shrink)

It is sometimes claimed that we perceive people’s mental states in their expressive features. This paper clarifies the claim by contrasting two possible readings, depending on whether expression is conceived relationally or non-relationally. A crucial difference between both readings is that only a non-relational conception of expression ensures direct access to other minds. The paper offers an argument for a non-relational conception of expression, and therefore for the view that we directly perceive people’s mental states in their expressive features.

For the purpose of this paper, I take it for granted that subjectivity is an essential character of perceptual experience. What I take issue with is the further claim that subjectivity of experience tends to support the view that phenomenal characters are intrinsic properties of experience. A criticism of the claim can be presented from the perspective of representationalism according to which phenomenal character is a kind of representational character. But representationalism fails to do justice to the fact that (...) from the subjective point of view, we seem to be directly aware of mind-independent objects in the world. A stronger criticism canbe based on the disjunctivist’s view of experience that best accommodates direct awareness of the external world. But disjunctivism rejects the common kind that also seems from the subject’s point of view to be shared by veridical perception and hallucination. The crucial problem is whether disjunctivists can make sense of the phenomenology of hallucination. Focusing the discussion on Martin’s epistemic version of disjunctivism, I hope to show the relevance of solving this problem for a better understanding of the subjectivity of experience. (shrink)

The problem of the richness of visual experience is that of finding principled grounds for claims about how much of the world a person actually sees at any given moment. It is argued that there are suggestive parallels between the two-component analysis of experience defended by Wilfrid Sellars, and certain recently advanced information processing accounts of visual perception. Sellars' later account of experience is examined in detail, and it is argued that there are good reasons in support of the claim (...) that the sensory nonconceptual content of experience can vary independently of conceptual awareness. It is argued that the Sellarsian analysis is not undermined by recent work on change blindness and related phenomena; a model of visual experience developed by Ronald Rensink is shown to be in essential harmony with the framework provided by Sellars, and provides a satisfactory answer to the problem of the richness of visual experience. (shrink)

To identify the set of reflectances that constitute redness, the authors must first determine which surfaces are red. They do this by relying on widespread agreement among us. However, arguments based on the possible ways in which humans would perceive colors show that mere widespread agreement among us is not a satisfactory way to determine which surfaces are red.

This article is the promised sequel to a recently published article in this journal , in which I sought to make more available to psychologists Edmund Husserl’s attempted explanation of how perceptual mental acts succeed in presenting to consciousness their external, environmental objects themselves, as opposed to some kind of representation of them. Here, I continue my exposition of Husserl’s effort and, as well, I begin a project of seeking to bridge the gap between his phenomenological account of (...) class='Hi'>perceptual presence to consciousness and James J. Gibson’s ecological conception of direct perception. I am concerned, with what happens at the juncture of the perceptual system’s resonance to the stimulus energy flux and the perceiver’s awareness of those environmental objects, events, properties, and relations which are specified by the informational variables that the picked-up stimulus flux instantiates. I believe that simultaneously considering the environment’s phenomenological perceptual presence from both sides of the great epistemic divide – from the ecological outside and from the phenomenological inside – is worth a serious try. In the case of both these perspectives, we fortunately can draw upon a lifetime of intensive work by a major theorist operating at the highest level, work directly relevant to the general phenomenon of special interest here. (shrink)