Linear depictions of the evolutionary process are ubiquitous in popular culture, but linear evolutionary imagery is strongly rejected by scientists who argue that evolution branches. This point is frequently illustrated by saying that we didn't evolve from monkeys, but that we are related to them as collateral relatives. Yet, we did evolve from monkeys, but our monkey ancestors are extinct, not extant. Influential voices, such as the late Stephen Jay Gould, have misled audiences for decades by falsely portraying the linear (...) and branching aspects of evolution to be in conflict, and by failing to distinguish between the legitimate linearity of evolutionary descent, and the branching relationships among collateral relatives that result when lineages of ancestors diverge. The purpose of this article is to correct the widespread misplaced rejection of linear evolutionary imagery, and to re-emphasize the basic truth that the evolutionary process is fundamentally linear. (shrink)

'Principles Of Mental Imagery' offers a broad, balanced, and up-to-date introduction to the major findings of this research and identifies five general principles that can account for most of them. It considers the development of experimental techniques that have solved many of the challenging methodological problems inherent in imagery research and includes recent experimental findings not covered in other imagery books..

Papers presented at a symposium on philosophy and medicine at the Institute for the Medical Humanities at the University of Texas Medical Branch in 1974 were published in the inaugural volume of this series.

This paper critically appraises the applied action-guide approach to bioethics and finds it wanting in two ways: it is tethered to a social contract view of the doctor-patient relationship that is largely incompatible with experiences of illness and care; and, as a formalist doctrine, it lacks critical edge and tends toward accommodationism. An alternative approach is recommended that involves interpreting moral experience by means once associated with the rhetorical arts — practical reasoning, hermeneutics, casuistry, and thick description.

This paper discusses several key issues concerning consciousness and human vision. A brief overview is presented of recent developments in this area, including issues that have been resolved and issues that remain unsettled. Based on this, three Hilbert questions are proposed. These involve three related sets of issues: the kinds of visual experience that exist, the kinds of visual attention that exist, and the ways that these relate to each other.

We present a rigorous way to evaluate the visual perception of correlation in scatterplots, based on classical psychophysical methods originally developed for simple properties such as brightness. Although scatterplots are graphically complex, the quantity they convey is relatively simple. As such, it may be possible to assess the perception of correlation in a similar way. Scatterplots were each of 5.0 extent, containing 100 points with a bivariate normal distribution. Means were 0.5 of the range of the points, and standard deviations (...) 0.2 of this range. Precision was determined via an adaptive algorithm to find the just noticeable differences (jnds) in correlation, i.e., the difference between two side-by-side scatterplots that could be discriminated 75% of the time. Accuracy was measured by direct estimation, using reference scatterplots with fixed upper and lower values, with a test scatterplot adjusted so that its correlation appeared to be halfway between these. This process was recursively applied to yield several further estimates. Results of the discrimination tests show jnd(r) = k (1/b – r), where r is the Pearson correlation, and parameters 0 < k, b < 1. Integration yields a subjective estimate of correlation g(r) = ln(1 – br) / ln(1– b). The values of b found via discrimination closely match those found via direct estimation. As such, it appears that the perception of correlation in a scatterplot is completely described by two related performance curves, specified by two easily-measured parameters. (shrink)

Nurturing Creativity in the Classroom is a groundbreaking collection of essays by leading scholars, who examine and respond to the tension that many educators face in valuing student creativity but believing that they cannot support it given the curricular constraints of the classroom. Is it possible for teachers to nurture creative development and expression without drifting into curricular chaos? Do curricular constraints necessarily lead to choosing conformity over creativity? This book combines the perspectives of top educators and psychologists to generate (...) practical advice for considering and addressing the challenges of supporting creativity within the classroom. It is unique in its balance of practical recommendations for nurturing creativity and thoughtful appreciation of curricular constraints. This approach helps ensure that the insights and advice found in this collection will take root in educators' practice, rather than being construed as yet another demand placed on their overflowing plate of responsibilities. (shrink)

This festschrift collects a number of insightful essays by a group of accomplished Christian scholars, all of who have either worked with or studied under Hendrik Hart during his 35-year tenure as Senior Member in Systematic Philosophy at the Institute for Christian Studies, Toronto, Canada.

In the provocative discussions comprising this collection, scholars Ronald A. Bosco and Joel Myerson and Buddhist leader Daisaku Ikeda explore the multifaceted, enduring legacy of Emerson, Thoreau, and Whitman. In the process they challenge and inspire the reader to do as these great figures once did—to look deep inside oneself to discover potential for growth, to encounter the natural world with reverence and delight, and to express themselves with poetry and imagination. With great appreciation for the timeless and universal (...) relevance of the American Renaissance, Bosco, Myerson, and Ikeda encourage each person to lead lives of greatness and to do nothing less than create Waldens of their own. (shrink)

This past decade has seen a great resurgence of interest in the perception of change. Change has, of course, long been recognized as a phenomenon worthy of study, and vision scientists have given their attention to it at various times in the past (for a review, see Rensink, 2002a). But things seem different this time around. This time, there is an emerging belief that instead of being just another visual ability, the perception of change may be something central to our (...) ‘visual life’, and that the mechanisms that underlie it may provide considerable insight into the operation of much of our visual system. This development may have been sparked by a number of factors: technology that allowed the easy creation of dynamic displays, a feeling in the air that it was time for something new, or it may have simply been a matter of chance. But once underway, this development was fueled by results, results that included both novel behavioral effects and new theoretical insights. Many of these centered around change blindness, the failure of observers to see large changes that are made contingent upon.. (shrink)

Recent advances in our understanding of visual perception have shown it to be a far more complex and counterintuitive process than previously believed. Several important consequences follow from this. First, the design of an effective statistical graphics system is unlikely to succeed based on intuition alone; instead, it must rely on a more sophisticated, systematic approach. The basic elements of such an approach are outlined here, along with several design principles. An overview is then given of recent advances in our (...) understanding of visual perception, including rapid perception, visual attention, and scene perception. It then is argued that the mechanisms involved can be successfully harnessed to allow data to be displayed more effectively than at present. Several directions of development are discussed, including effective use of visual attention, the display of dynamic information, and the effective use of nonattentional and nonconscious perceptual systems. (shrink)

A set of visual search experiments tested the proposal that focused attention is needed to detect change. Displays were arrays of rectangles, with the target being the item that continually changed its orientation or contrast polarity. Five aspects of performance were examined: linearity of response, processing time, capacity, selectivity, and memory trace. Detection of change was found to be a self-terminating process requiring a time that increased linearly with the number of items in the display. Capacity for orientation was found (...) to be about 5 items, a value comparable to estimates of attentional capacity. Observers were able to filter out both static and dynamic variations in irrelevant properties. Analysis also indicated a memory for previously-attended locations. These results support the hypothesis that the process needed to detect change is much the same as the attentional process needed to detect complex static patterns. Interestingly, the features of orientation and polarity were found to be handled in somewhat different ways. Taken together, these results not only provide evidence that focused attention is needed to see change, but also show that change detection itself can provide new insights into the nature of attentional processing. (shrink)

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When looking at a scene, observers feel that they see its entire structure in great detail and can immediately notice any changes in it. However, when brief blank fields are placed between alternating displays of an original and a modified scene, a striking failure of perception is induced: identification of changes becomes extremely difficult, even when changes are large and made repeatedly. Identification is much faster when a verbal cue is provided, showing that poor visibility is not the cause of (...) this difficulty. Identification is also faster for objects mentioned in brief verbal descriptions of the scene. These results support the idea that observers never form a complete, detailed representation of their surroundings. In addition, results also indicate that attention is required to perceive change, and that in the absence of localized motion signals it is guided on the basis of high-level interest. (shrink)

Over the centuries, magicians have developed extensive knowledge about the manipulation of the human mind—knowledge that has been largely ignored by psychology. It has recently been argued that this knowledge could help improve our understanding of human cognition and consciousness. But how might this be done? And how much could it ultimately contribute to the exploration of the human mind? We propose here a framework outlining how knowledge about magic can be used to help us understand the human mind. Various (...) approaches—both old and new—are surveyed, in terms of four different levels. The first focuses on the methods in magic, using these to suggest new approaches to existing issues in psychology. The second focuses on the effects that magic can produce, such as the sense of wonder induced by seeing an apparently impossible event. Third is the consideration of magic tricks—methods and effects together—as phenomena of scientific interest in their own right. Finally, there is the organization of knowledge about magic into an informative whole, including the possibility of a science centered around the experience of wonder. (shrink)

Five aspects of visual change detection are reviewed. The first concerns the concept of change itself, in particular the ways it differs from the related notions of motion and difference. The second involves the various methodological approaches that have been developed to study change detection; it is shown that under a variety of conditions observers are often unable to see large changes directly in their field of view. Next, it is argued that this “change blindness” indicates that focused attention is (...) needed to detect change, and that this can help map out the nature of visual attention. The fourth aspect concerns how these results affect our understanding of visual perception—for example, the implication that a sparse, dynamic representation underlies much of our visual experience. Finally, a brief discussion is presented concerning the limits to our current understanding of change detection. (shrink)

It is suggested that the relationship between visual attention and conscious visual experience can be simplified by distinguishing different aspects of both visual attention and visual experience. A set of principles is first proposed for any possible taxonomy of the processes involved in visual attention. A particular taxonomy is then put forward that describes five such processes, each with a distinct function and characteristic mode of operation. Based on these, three separate kinds—or possibly grades—of conscious visual experience can be distinguished, (...) each associated with a particular combination of attentional processes. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

Large changes in a scene often become difficult to notice if made during an eye movement, image flicker, movie cut, or other such disturbance. It is argued here that this _change blindness_ can serve as a useful tool to explore various aspects of vision. This argument centers around the proposal that focused attention is needed for the explicit perception of change. Given this, the study of change perception can provide a useful way to determine the nature of visual attention, and (...) to cast new light on the way that it is?and is not?involved in visual perception. To illustrate the power of this approach, this paper surveys its use in exploring three different aspects of vision. The first concerns the general nature of _seeing_. To explain why change blindness can be easily induced in experiments but apparently not in everyday life, it is proposed that perception involves a _virtual representation_, where object representations do not accumulate, but are formed as needed. An architecture containing both attentional and nonattentional streams is proposed as a way to implement this scheme. The second aspect concerns the ability of observers to detect change even when they have no visual experience of it. This _sensing_ is found to take on at least two forms: detection without visual experience (but still with conscious awareness), and detection without any awareness at all. It is proposed that these are both due to the operation of a nonattentional visual stream. The final aspect considered is the nature of visual attention itself?the mechanisms involved when _scrutinizing_ items. Experiments using controlled stimuli show the existence of various limits on visual search for change. It is shown that these limits provide a powerful means to map out the attentional mechanisms involved. (shrink)

The human experience is punctuated by times of crisis. Some crises are experienced at a personal level (e.g., the diagnosis of a life-threatening disease), organizational level (e.g., a business facing bankruptcy), and still others are experienced on a societal or global level (e.g., COVID-19 pandemic). Although crises can be deeply troubling and anxiety provoking, they can also serve as an important catalyst for creative action and innovative outcomes. This is because during times of crisis our typical forms of reasoning and (...) action may no longer serve us. It is precisely during such times that new ways of thought, action and leadership are needed. A key question for researchers to consider is:Why and how times of crisis serve as an impetus for creative actions and outcomes?The purpose of this paper is to address this question. I open by briefly discussing the features of a crisis. I then introduce an empirically testable, process model that outlines various pathways, factors, and outcomes associated with different ways people and organizations respond during times of crisis. I close by briefly outlining future directions for creativity theory and research. (shrink)

Experiments are presented showing that visual search for Mueller-Lyer (ML) stimuli is based on complete configurations, rather than component segments. Segments easily detected in isolation were difficult to detect when embedded in a configuration, indicating preemption by low-level groups. This preemption—which caused stimulus components to become inaccessible to rapid search—was an all-or-nothing effect, and so could serve as a powerful test of grouping. It is shown that these effects are unlikely to be due to blurring by simple spatial filters at (...) early visual levels. It is proposed instead that they are due to more sophisticated processes that rapidly bind contour fragments into spatially-extended assemblies. These results support the view that rapid visual search cannot access the primitives formed at the earliest stages of visual processing; rather, it can access only higher-level, more ecologically-relevant structures. (shrink)

Recent advances in the field of creative cognition have helped to reveal the cognitive structures and processes that are involved in creative thinking and imagination. This article begins by reviewing recent studies of creative imagery that have explored the emergent properties of mental images. The geneplore model of creative cognition, which describes how preinventive structures such as creative mental images are generated and interpreted, is then discussed. In discussing this model and its implications, a distinction is made between aspects of (...) creative imagery that reflect conscious, deliberate control and those that reflect the absence of such control, as illustrated particularly by the emergence of unanticipated structures in imagined forms. The intentional, structured qualities of creative thinking are then contrasted with its spontaneous, unstructured qualities. The article concludes by discussing the recent topics of chaotic cognition and creative realism and how they bear on the general issue of balancing structured and unstructured processes in creative endeavors. (shrink)

Traditionally, vision science and information/data visualization have interacted by using knowledge of human vision to help design effective displays. It is argued here, however, that this interaction can also go in the opposite direction: the investigation of successful visualizations can lead to the discovery of interesting new issues and phenomena in visual perception. Various studies are reviewed showing how this has been done for two areas of visualization, namely, graphical representations and interaction, which lend themselves to work on visual processing (...) and the control of visual operations, respectively. The results of these studies have provided new insights into aspects of vision such as grouping, attentional selection and the sequencing of visual operations. More generally yet, such results support the view that the perception of visualizations can be a useful domain for exploring the nature of visual cognition, inspiring new kinds of questions as well as casting new light on the limits to which information can be conveyed visually. (shrink)