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).

The current study investigated the adaptations which occur in visual search behaviour as a function of expertise in rugby union players when completing attacking scenarios. Ten experienced players and ten novice players completed 2 vs. 1 attacking game scenarios. Starting with the ball in hand and wearing a mobile eye tracker throughout, participants were required to score a try against a defender. The scenarios allowed for a pass to their supporting player or trying to run past the defender. No (...) between group differences were found in fixating on the supporting attacking player. However, EP increased the length and frequency looking at the area immediately ahead of the supporting player, particularly when executing a spin pass. NP fixated longer and more frequently at the defender, whilst EP fixated more frequently in the space the supporting player would run into in Switch and Dummy Switch scenarios. More successful passes were completed and tries scored by EP compared to NP. Differences in visual search behaviour between experienced and NP suggest that the experts extract information from areas directly related to guiding the motor action; the space immediately ahead of the support player to pass the ball in. Contrastingly, novices use a more allocentric perspective where the actions from the defender are used to guide their motor actions. (shrink)

In visual science the term filling-inis used in different ways, which often leads to confusion. This target article presents a taxonomy of perceptual completion phenomena to organize and clarify theoretical and empirical discussion. Examples of boundary completion (illusory contours) and featural completion (color, brightness, motion, texture, and depth) are examined, and single-cell studies relevant to filling-in are reviewed and assessed. Filling-in issues must be understood in relation to theoretical issues about neuralignoring an absencejumping to a conclusionanalytic (...) isomorphismCartesian materialism, a particular neural stage that forms the immediate substrate of perceptual experience enactiveanimatesubpersonal” considerations about internal processing, but rather by considerations about the task of vision at the level of the animal or person interacting with the world. (shrink)

Perception is a central means by which we come to represent and be aware of particulars in the world. I argue that an adequate account of perception must distinguish between what one perceives and what one's perceptual experience is of or about. Through capacities for visual completion, one can be visually aware of particular parts of a scene that one nevertheless does not see. Seeing corresponds to a basic, but not exhaustive, way in which one can be visually (...) aware of an item. I discuss how the relation between seeing and visual awareness should be explicated within a representational account of the mind. Visual awareness of an item involves a primitive kind of reference: one is visually aware of an item when one's visual perceptual state succeeds in referring to that particular item and functions to represent it accurately. Seeing, by contrast, requires more than successful visual reference. Seeing depends additionally on meta-semantic facts about how visual reference happens to be fixed. The notions of seeing and of visual reference are both indispensable to an account of perception, but they are to be characterized at different levels of representational explanation. (shrink)

Amodal completion is usually characterized as the representation of those parts of the perceived object that we get no sensory stimulation from. In the case of the visual sense modality, for example, amodal completion is the representation of occluded parts of objects we see. I argue that relationalism about perception, the view that perceptual experience is constituted by the relation to the perceived object, cannot give a coherent account of amodal completion. The relationalist has two options: (...) construe the perceptual relation as the relation to the entire perceived object or as the relation to the unoccluded parts of the perceived object. I argue that neither of these options are viable. (shrink)

This is a book about how we see: the environment around us (its surfaces, their layout, and their colors and textures); where we are in the environment; whether or not we are moving and, if we are, where we are going; what things are good for; how to do things (to thread a needle or drive an automobile); or why things look as they do.The basic assumption is that vision depends on the eye which is connected to the brain. The (...) author suggests that natural vision depends on the eyes in the head on a body supported by the ground, the brain being only the central organ of a complete visual system. When no constraints are put on the visual system, people look around, walk up to something interesting and move around it so as to see it from all sides, and go from one vista to another. That is natural vision—and what this book is about. (shrink)

Summary Amodal completion involves the impression of existence and properties of visually occluded parts of objects. One aspect of this phenomenon that has been somewhat neglected is the amodal completion of color, which involves the impression that amodally completed surfaces have a particular color. In this paper, this aspect is investigated by constructing a large number of displays with identical target figures embedded in systematically varying contexts, to find out which contexts are conducive for amodal completion of (...) color and which are not. In this setup, the main effects of changes of contexts are changes of geometric and photometric features of junctions along the borders of the target regions, which can cause dramatic differences in the appearance of those regions. Generally, a certain arrangement of T-junctions supports the impression of amodal completion of color, and it can be argued that certain types of X-junctions support a variant of this effect as well. (shrink)

The behavioral immune system (BIS) includes perceptual mechanisms for detecting cues of contamination. Former studies have indicated that moisture has a disgusting property. Therefore, moisture could be a target for detecting contamination cues by the BIS. We conducted two experiments to examine the psychophysical basis of moisture perception and clarify the relationship between the perception of moisture and the BIS. We assumed that the number of high luminance areas in a visual image provided optical information that would enable the (...) visual perception of moisture. In two experiments, we presented eight images of dough that contained different amounts of moisture as experimental stimuli. The amount of moisture shown in the images was increased in eight steps, from 28.6% to 42.9% of the total weight of the dough. In Experiment 1, the images were randomly presented on a computer display, and the participants (n = 22) were asked to rank the images in the order of the visually perceived moisture content. In Experiment 2, the participants (n = 15) completed pairwise comparisons based on the perceived moistness of the images. Furthermore, to examine the BIS responses, the participants rated the strength of disgust evoked by the stimuli, their motivation to avoid touching the stimuli, and the estimated magnitude of the risk of contamination by physical contact with the stimuli. The results indicated that the moisture content and the numbers of high luminance areas in the images accurately predicted the perception of moisture, suggesting that the detection of visual moisture was highly accurate, and the optical information served as an essential perceptual cue for detecting moisture. On the other hand, the BIS responses peaked in response to stimuli having approximately 33% to 39% moisture content. These results show that objects containing a moderate amount of moisture could be the target of visually detecting pathogens by the BIS. (shrink)

In amodal completion the mind in some sense completes the visual perceptual representation of a scene by representing parts of the scene hidden behind other objects. Cognitive science has had a lot to say about how amodal completion occurs but has had little to say about the format of the representations involved and the way in which they represent. Some philosophers hold that amodal completions take the form of sensory imaginings of the occluded portions. This theory poses (...) a puzzle for both philosophy and neuroscience about how the occluded parts are imagined to be located relative to the unoccluded parts. A better theory begins with the observation that for many purposes it is useful to suppose that the mind contains mental models of three-dimensional structure. Visual perceptions and mental images may be conceived as mental models that represent external scenes by virtue of homomorphism and which possess both a deep aspect, representing both visible and occluded three-dimensional structure, and a perspectival aspect, representing only an arrangement of visible surfaces. In these terms we can explain various problem-solving abilities, such as the ability to imagine what a scene will look like from another point of view. Amodal completions can be treated as deep perceptual representations of three-dimensional structure. Thus amodal completions do not consist of mental imagery, but they can be used to generate mental imagery representing how a scene would look from alternative points of view. (shrink)

Background: Visual arts education has been suggested to influence cognitive and behavioral outcomes, yet its specific effects on critical thinking and behavior regulation remain underexplored. The effect of visual arts education on these domains forms the topic of the present study, which employs a mixed approach research design. Aim: To assess the impact of visual arts education on the improvement of critical thinking and self-regulation in students. Methodology: A quasi-experimental approach was employed with 80 individuals, with 40 (...) in the experimental group Report Phrase receiving education in visual arts and 40 in the control group receiving non-visual arts education. CTST and BRI assessment tools were used to acquire quantitative data about the participants, utilizing the independent and paired sample T-tests. Data collected from participants include interviews, focus group discussions, self-administered, and thematic analysis. A repeated measures ANOVA was used to analyse the data. Result: Statistical findings depicted improvements in the quantitative aspect; critical thinking skills improved from 70.0 to 75.3 with p<0.001 and behavior regulation improved from 65.0 to 69.2 with p<0.001 in the experimental-group in contrast to the control-group. The thematic analysis found striking increases in attention, impulse control, task completion, creativity, collaboration, affect expression, and self-esteem of experimental-group participants. Based on the findings of the Repeated Measures ANOVA, significant enhancements were observed in both domains for critical thinking and behavior regulation with effect size estimates of 0.40 and 0.30, respectively. Conclusion: The development of critical thinking and behavior control in students is greatly impacted by art instruction. Quantitative and qualitative data both support the utility of using visual arts interventions for cognitive and behavioral development and inform practice in art education. (shrink)

The taxonomy proposed by Pessoa et al. should be extended to include “pathological” completion phenomena in patients with unilateral brain damage. Patients with visual field defects (hemianopias) may “complete” whole figures, while patients with parietal lobe damage may “complete” partial figures. We argue that the former may be consistent with the brain “filling-in” information, and the latter may be consistent with the brain ignoring the absence of information.

Four experiments investigated the extent to which abstract quantitative information can be conveyed by basic visual features. This was done by asking observers to estimate and discriminate Pearson correlation in graphical representations where the first data dimension of each element was encoded by its horizontal position, and the second by the value of one of its visual features; perceiving correlation then requires combining the information in the two encodings via a common abstract representation. Four visual features were (...) examined: luminance, color, orientation, and size. All were able to support the perception of correlation. Indeed, despite the strikingly different appearances of the associated stimuli, all gave rise to performance that was much the same: just noticeable difference was a linear function of distance from complete correlation, and estimated correlation a logarithmic function of this distance. Performance differed only in regards to the level of noise in the feature, with these values compatible with estimates of channel capacity encountered in classic experiments on absolute perceptual magnitudes. These results suggest that quantitative information can be conveyed by visual features that are abstracted at relatively low levels of visual processing, with little representation of the original sensory property. It is proposed that this is achieved via an abstract parameter space in which the values in each perceptual dimension are normalized to have the same means and variances, with perceived correlation based on the shape of the joint probability density function of the resultant elements. (shrink)

Background: Facial attractiveness influences our perceptions of others, with beautiful faces reaping societal rewards and anomalous faces encountering penalties. The purpose of this study was to determine associations of visual attention with bias and social dispositions toward people with facial anomalies. -/- Methods: Sixty subjects completed tests evaluating implicit bias, explicit bias, and social dispositions before viewing publicly available images of preoperative and postoperative patients with hemifacial microsomia. Eye-tracking was used to register visual fixations. -/- Results: Participants with (...) higher implicit bias scores fixated significantly less on the cheek and ear region preoperatively (P = 0.004). Participants with higher scores in empathic concern and perspective taking fixated more on the forehead and orbit preoperatively (P = 0.045) and nose and lips (P = 0.027) preoperativel. -/- Conclusions: Participants with higher levels of implicit bias spent less visual attention on anomalous facial anatomy, whereas participants with higher levels of empathic concern and perspective taking spent more visual attention on normal facial anatomy. Levels of bias and social dispositions such as empathy may predict layperson gaze patterns toward those with facial anomalies and provide insights to neural mechanisms underlying the "anomalous is bad" paradigm. (shrink)

How is it that we can visually experience complete three-dimensional objects despite being limited, in any given perceptual moment, to perceiving the sides facing us from a specific spatial perspective? To make sense of this, such visual experiences must refer to occluded or presently unseen back-sides which are not sense-perceptually given, and which cannot be sense-perceptually given while the subject is occupying the spatial perspective on the object that they currently are—I call this the horizonality of visual experience. (...) Existing accounts of these horizonal references are unsatisfactory. In providing a satisfactory account, this paper argues that the content and structure of the visual experience of complete three-dimensional objects is as follows: the object is presented as being perceptible from yet-to-be-determined alternative points of view. As part of the content of visual experience, this motivates non-propositional attitudes of anticipation. Explicating this proposal is the central positive aim of this paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Exploring Visual Culture: Definitions, Concept, ContextsPaul DuncumExploring Visual Culture: Definitions, Concept, Contexts, edited by Matthew Rampley. Edinburgh: Edinburgh University Press, 2005, 257 pp., $32.00 paper.I review this new introductory text in light of its competition as a textbook for undergraduates and as an introduction for graduate students. Other such texts include Barnard, Elkins, Mirzeoff, Walker and Chaplin, and Sturken and Cartwright,1 which appears to be the (...) most widely used. Rampley's anthology stands up well among these competitors, especially for those who wish to transition from art to contemporary popular visual culture rather more gently than other texts that, for many students, might come as too abrupt a disjuncture from mainstream practice in schools of art and design. As Matthew Rampley states in his excellent introduction, if the book has an original contribution to make, it is to situate an acknowledgment of traditional practices and issues into the makeup of visual culture studies. Unlike other texts, mentioned above, which tend to stress screen and print media, Rampley's agenda is to remind readers of the historical origins of many recent developments as well as the contribution of cultural forms other than two-dimensional ones. Thus, chapters are included that trace the history and continuing contribution of traditional media; art, design, craft, and architecture each receive individual chapters. MacDonald, for example, describes the complex meanings of craft and its relationship to fine art and design from classical times to today, as well as summarizes the characteristics and politics of craft today. Furthermore, the influence of technology is charted principally through conventional art, and the chapters on photography, film, and fashion are likewise cast largely in terms of historical accounts of whether these forms should be considered to be art.The historical bias is equally evident in the pictures used to illustrate the text. While, for example, there are contemporary popular images, such [End Page 118] as a cover of the Sun newspaper and a photograph of Punks, there are as many crossover images—postcards of famous art portraits and a Michelangelo on a T shirt—as well as many conventional artworks. Delacroix, Corbert, Rauschenberg, David, Fuseli, and Van Goyen are each featured. Some of the popular images are also historical, such as George Mêlées 1902 classic film Voyage to Moon and advertisements from the1930s.Sometimes the historical material takes up much of the space, with recent developments given only cursory treatment, and sometimes the material is dealt with in ways that seem rather old-fashioned to this reader. For example, Glyn Davis's chapter on photography and film is primarily a potted historical account of the relationships between these two cultural forms and art. Further, Davis does not just describe the arguments for and against their inclusion as art but is clearly engaged with these issues himself, an engagement that many proponents of visual culture would find rather quaint—that is, rather less interesting than the particular contribution that these forms make to contemporary life and for whom the question, "Is it art?" is no longer of any particular interest. This art orientation also colors Davis's view of Hollywood films. Clearly preferring "art" films, he completely ignores the role of popular film in exploring the fears, anxieties, beliefs, and so on of the wider public. By contrast, Richard Williams argues against architecture as a form of art, with its limited concerns with aesthetics, style, and canonical buildings, in favor of architecture as discourse and spatial experience. He is more interested in the reception of architecture than its production—first with architecture as signs, as meanings that are mutable, contingent, and arbitrary; and, secondly, as ordinary urban lived experience, with how architecture is but one element within the experience of urban environments.Typical of the avoidance of technical terms in the book as a whole, Williams beautifully describes the difference between structuralism and poststructuralism without once mentioning either of these terms, and in a chapter on architecture he manages to use the term "postmodern" only once. Similarly, in Neil Mulholland's chapter on representation and realism, cultural border crossing and indigenization are both described, albeit briefly, though without recourse to these terms... (shrink)

Some things look more complex than others. For example, a crenulate and richly organized leaf may seem more complex than a plain stone. What is the nature of this experience—and why do we have it in the first place? Here, we explore how object complexity serves as an efficiently extracted visual signal that the object merits further exploration. We algorithmically generated a library of geometric shapes and determined their complexity by computing the cumulative surprisal of their internal skeletons—essentially quantifying (...) the “amount of information” within each shape—and then used this approach to ask new questions about the perception of complexity. Experiments 1–3 asked what kind of mental process extracts visual complexity: a slow, deliberate, reflective process (as when we decide that an object is expensive or popular) or a fast, effortless, and automatic process (as when we see that an object is big or blue)? We placed simple and complex objects in visual search arrays and discovered that complex objects were easier to find among simple distractors than simple objects are among complex distractors—a classic search asymmetry indicating that complexity is prioritized in visual processing. Next, we explored the function of complexity: Why do we represent object complexity in the first place? Experiments 4–5 asked subjects to study serially presented objects in a self‐paced manner (for a later memory test); subjects dwelled longer on complex objects than simple objects—even when object shape was completely task‐irrelevant—suggesting a connection between visual complexity and exploratory engagement. Finally, Experiment 6 connected these implicit measures of complexity to explicit judgments. Collectively, these findings suggest that visual complexity is extracted efficiently and automatically, and even arouses a kind of “perceptual curiosity” about objects that encourages subsequent attentional engagement. (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)

Humans have been exploring colors since ancient times, but relatively complete color systems appeared one after another in the twentieth century. Even without language and other information exchanges, colors can still convey information and stimulate emotions. Therefore, color can have both physical and psychological effects on people. In this context, this paper studies the visual representation of painting colors based on psychological factors. The article studies the theory of personality traits and introduces the related content of visual psychology. (...) To explore the relationship between each variable and color psychology and the visual representation of painting colors, a binary logistic regression analysis is performed. The colors in the post-impressionist paintings of Van Gogh and Gauguin is contrasted, and experiments on psychological factors and color research is conducted. The factors that affect the color tone of the picture and the influence of psychological factors on the judgment of color brightness are investigated. Finally, the correlation analysis of personality trait dimension and irrational behavior is carried out. The experimental results of the article show that after the analysis of variance, the significance levels of regression model 1 and model 2 both reach 0.000, and the adjusted R squares are 0.319 and 0.356, respectively. In this study, regression model 2 was selected as the final model. According to Model 2, the standardized regression coefficients of agreeableness and neuroticism are 0.438 and -0.251, respectively, and the significance of the regression coefficients are 0.000 and 0.021, respectively. The research on the visual performance of painting colors based on psychological factors has been well completed. (shrink)

The nature of attention is one of the oldest and most central problems in psychology. A huge amount of research has been produced on this subject in the last half century, especially on attention in the visual modality, but a general explanation has remained elusive. Many still view attention research as a field that is fundamentally fragmented. This book takes a different perspective and presents a unified theory of visual attention: the TVA model. The TVA model explains the (...) many aspects of visual attention by just two mechanisms for selection of information: filtering and pigeonholing. These mechanisms are described in a set of simple equations, which allow TVA to mathematically model a large number of classical results in the attention literature. The theory explains psychological and neuroscientific findings by the same equations; TVA is a complete theory of visual attention, linking mind and brain. Aimed at advanced students and professional researchers, Principles of Visual Attention contains a detailed review of the most important research done on attention in vision, spanning cognitive psychology, brain imaging, patient studies, and recordings from single cells in the visual cortex. The book explains the TVA model and shows how it accounts for attentional effects observed across all the research areas described. Principles of Visual Attention offers a uniquely integrated view on a central topic in cognitive neuroscience. (shrink)

With the help of the current experiment, we wanted to learn more about the impact of visually demanding vs. cognitively demanding secondary tasks on the attention allocation of older pedestrians during the phase of traffic perception within the process of road crossing. For this purpose, we used two different road crossing tasks as well as two different secondary tasks. The road crossing “stop task” was a signal detection task, where an approaching car had to be detected. The road crossing “go (...) task” was a dynamic visual search task, where the resolution of a busy road situation had to be identified. The visual secondary task was a static visual search task and the cognitive secondary task was a 1-back task. One younger group and one older group of participants completed the tasks as single vs. dual-tasks in all possible combinations. Performance was measured through errors and response time; in addition, the subjective workload was assessed via NASA-TLX. Analyses show that the visual secondary task reduces performance in the road crossing more strongly than the cognitive task, while the visual task itself is less impaired by the road crossing tasks than is the cognitive task. Overall, performance diminishes from single to dual-task completion. Results further indicate age effects in terms of increased errors and response time for older compared to younger participants. In addition to these age effects, age-specific dual-task effects emerge for response time in the go task along with the visual task as well as for response time in the cognitive task along with the go task. Subjective workload is higher in the dual-task conditions than in the single tasks. Findings are discussed with regard to theoretical and practical implications. (shrink)

We show that early vision can use monocular cues to rapidly complete partially-occluded objects. Visual search for easily detected fragments becomes difficult when the completed shape is similar to others in the display; conversely, search for fragments that are difficult to detect becomes easy when the completed shape is distinctive. Results indicate that completion occurs via the occlusion-triggered removal of occlusion edges and linking of associated regions. We fail to find evidence for a visible filling-in of contours or (...) surfaces, but do find evidence for a "functional" filling-in that prevents the constituent fragments from being rapidly accessed. As such, it is only the completed structures—and not the fragments themselves—that serve as the basis for rapid recognition. (shrink)

This book examines the logical foundations of visual information: information presented in the form of diagrams, graphs, charts, tables, and maps. The importance of visual information is clear from its frequent presence in everyday reasoning and communication, and also in compution. Chapters of the book develop the logics of familiar systems of diagrams such as Venn diagrams and Euler circles. Other chapters develop the logic of higraphs, Pierce diagrams, and a system having both diagrams and sentences among its (...) well-formed representations. Syntax, semantics, rules of inference and soundness and completeness results are provided for each of the systems. In addition to developing the logic of diagrams, key questions about the status of visual information Hammer discusses, such as the relationship between the language and visually-presented information. (shrink)

Horst Bredekamp’s subject is the astute deployment and perennial resonance of the startling image of the body politic that dominates the frontispiece to Leviathan: a treatise on the psychology of the individual and the dynamic of the multitude, published in 1651 by the English philosopher Thomas Hobbes. Affirming the centrality of such a figural device for this pioneering theorist of the state, Bredekamp goes on to address the art-historical dimension of the mesmerising etched title-page. In his central chapters he explores (...) the extraordinary range of sources – from socio-cultural tradition to scientific advances – on which the author and his artist-collaborator may have drawn. In conclusion, he reveals Hobbes to be no less passionate than shrewd in his belief that the constraints and amenities of a tolerable life in common attest to the potency of the visual. As appendices, two essays and catalogues explore the portraits made of Hobbes as well as illustrations that appeared in his other works, thus systematically completing the exploration of the images connected with this exceptional philosopher. (shrink)

As far as an adequate understanding of phenomenal consciousness is concerned, representationalist theories of mind which are modelled on the information processing paradigm, are, as much as corresponding neurobiological or functionalist theories, confronted with a series of arguments based on inverted or absent qualia considerations. These considerations display the following pattern: assuming we had complete knowledge about the neural and functional states which subserve the occurrence of phenomenal consciousness, would it not still be conceivable that these neural states (or states (...) with the same causal r. (shrink)

John Venn and Charles L. Dodgson (Lewis Carroll) created systems of logic diagrams capable of representing classes (sets) and their relations in the form of propositions. Each is a proof method for syllogisms, and Carroll's is a sound and complete system. For a large number of sets, Carroll diagrams are easier to draw because of their self-similarity and algorithmic construction. This regularity makes it easier to locate and thereby to erase cells corresponding with classes destroyed by the premises of an (...) argument, a particularly difficult task in Venn diagrams for more than four sets. Carroll diagrams can represent existential propositions easily, so they are capable of clearly representing more complex problems than Venn's system can. Finally, both Carroll and Venn diagrams are maximal, in the sense that no additional logic information like inclusive disjunctions is able to be represented by them. Carroll's logic diagrams and logic trees constitute his visual logic system. (shrink)

A number of philosophers have held that we visually experience objects’ occluded parts, such as the out-of-view exterior of a voluminous, opaque object. That idea is supposed to be what best explains the fact that we see objects as whole or complete despite having only a part of them in view at any given moment. Yet, the claim doesn’t express a phenomenological datum and the reasons for thinking we do experience objects’ occluded parts, I argue, aren’t compelling. Additionally, I anticipate (...) and reply to attempts to salvage the idea by appeal to perceptual expectation and amodal completion. Lastly, I address potential concerns that the only way to capture the phenomenal character of perceiving voluminous objects is to say experience outstrips what’s in view, providing a description of such experience without any implication of that idea. (shrink)

The ultimate aim of artistic exploration is to explore the claim that objects are different from experience and beauty is just a by-product of the exploration. In other words, the truth in the eyes of each person may quite literarly not be the same. A typical example is that some art archaeologists attribute the artistic achievements of Vincent van Gogh and Paul Cezanne to their eye diseases.1 Saying this, however, is somewhat unreliable—just like we could not arbitrarily say that the (...) world in the eyes of animals, who have a completely different physciological and optic nerve structure, is quite diferent from that of humans. This indicates that differences in the visual apparatus influence the viewing body’s .. (shrink)

The two-visual-systems hypothesis proposed by Goodale and Milner is a radical one. If it were to be true, then our common sense such as we are acting on what we are perceiving should be completely abandoned. In this paper, I argue that the hypothesis over-generalizes what happens in simple tasks to what happens in complex tasks. By contrast, I demonstrate that what happens in complex tasks is compatible with our common sense. In a word, though what we are acting (...) on may come apart from what we are perceiving in some cases, that is not the whole story. (shrink)

Our visual system not only mediates information about the visual environment but is capable of generating pictures of nonexistent worlds: afterimages, illusions, phosphenes, etc. We are ''aware'' of these pictures just as we are aware of the images of natural, physical objects. This raises the question: is the neural correlate of consciousness (NCC) of such images the same as that of images of physical objects? Images of natural objects have some properties in common with afterimages (e.g., stability of (...) verticality) but there are also obvious differences (e.g., images maintain size constancy, whereas afterimages follow Emmert's Law: when seen while screens at different distances are observed, an afterimage looks larger, the greater the distance of the screen). The differences can be explained by differences in the retinal extent of images and afterimages, which favors the view that both have the same NCC. It seems reasonable to assume that before neural activity can produce awareness, all the computations necessary for a veridical representation of, e.g., an object, must be completed within the neural substrate and that information characteristic of a particular object must be available within the NCC. Given these assumptions, it can be shown that no retinotopic (in a strict sense) cortical areas can serve as the NCC, although some type of topographic representation is necessary. It seems also to be unlikely that neurons classified as cardinal cells alone can serve as NCC. (shrink)

As far as an adequate understanding of phenomenal consciousness is concerned, representationalist theories of mind which are modelled on the information processing paradigm, are, as much as corresponding neurobiological or functionalist theories, confronted with a series of arguments based on inverted or absent qualia considerations. These considerations display the following pattern: assuming we had complete knowledge about the neural and functional states which subserve the occurrence of phenomenal consciousness, would it not still be conceivable that these neural states (or states (...) with the same causal r. (shrink)

AimsIn this pilot mixed-methods study, we examined the participants experiences of engaging in virtual drawing tasks and the impact of an olfactory stimulus on outcomes of affect, stress, self-efficacy, anxiety, creative agency, and well-being.MethodsThis study used a parallel mixed-methods, simple block randomization design. The study participants included 24 healthy adults aged 18 to 54 years, including 18 women and six men. The participants completed two 1-h immersive virtual art making sessions and were randomly assigned to receive either a fragrance or (...) a non-fragrance condition for the first session. Quantitative and qualitative datasets were collected concurrently and integrated during data analysis.ResultsThe quantitative results indicated that the fragrance condition demonstrated a significant reduction in negative affect, namely, reduced feelings of negativity when compared to the non-fragrance condition. A trend toward improvement in self-efficacy was also seen in the fragrance condition. No significant changes were found for fragrance or non-fragrance conditions for positive affect, anxiety, and creative agency. The qualitative findings included five themes related to art making experiences in virtual reality in both conditions: fun and joy; novelty of virtual media, experimentation, and play; relaxation and calm; learning curve; and physical discomfort and disorientation. Four themes were identified for virtual art content and visual qualities: nature imagery, references to memories and personal symbols, fantasy and play within imagery, and depiction of everyday objects.ConclusionsOverall, the participants reported positive responses to the novel virtual art making experiences which were further heightened by the inclusion of the fragrance stimulus for negative affect. These preliminary findings need to be replicated with larger sample sizes to confirm the outcomes and the trends that were seen in this pilot study. Further research is recommended to examine the differences between experiences of virtual and traditional art media and to examine different olfactory stimuli promoting focus and concentration. (shrink)

Descriptive Experience Sampling (DES) attempts to apprehend in high fidelity pristine inner experience (the naturally-occurring, directly-apprehended phenomena that fill our waking lives, including inner speaking, visual imagery, sensory awarenesses, etc.). Previous DES investigations had shown individual differences in the frequency of inner speaking ranging from nearly zero to nearly 100% of the time. In early 2020, the Internet was ablaze with comments expressing astonishment that constant internal monologue was not universal. We invited Lena, a university student who believed she (...) had constant internal monologue, to participate in a DES analog of a pre-registered study: We would announce, on the Internet, that we would conduct a fully transparent DES investigation and roll out videos of the DES interviews (and annotated transcripts) as they occurred in (almost) real-time, something like “reality TV about inner experience,” so that spectators could examine for themselves our characterizations of Lena and how we arrived at them. We describe here the procedure and its findings: Lena did _not_ have frequent internal monologue (contrary to her expectations); she _did_ have frequent visual imagery (to her surprise); and we speculated about the frequent presence of two simultaneous “centers of gravity” of her experience. The entire procedure is available for inspection. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

BackgroundIn Sweden, individuals with visual field loss have their driving license withdrawn. The literature clearly indicates that individuals with VFL are unsafe drivers on a group level. However, many drivers with VFL can be safe on an individual level. The literature also suggests that self-perception, beliefs, and insights of one’s own capabilities are related to driving performance. This study had three aims: To investigate self-perceived driving capability ratings for individuals with VFL; to compare these ratings between groups with different (...) medical conditions associated with VFL ; and to relate the self-perception ratings to actual driving performance in an advanced driving simulator.MethodsParticipants comprised 723 individuals whose driver’s license had been withdrawn because of VFL and 92 normally sighted elderly individuals. All participants completed a background survey, rated difficulties with different traffic situations, rated their strengths and weaknesses as drivers, and rated aspects that were important for causing traffic accidents. Of the VFL group participants, 264 also completed a simulator-based driving test that they knew could lead to renewal of their driving license. VFL participants and normally sighted was at the same age when they completed the simulator driving test.ResultsOverall, individuals with VFL rated their capabilities as high on all instruments and scales used, even higher than the elderly normally sighted control group. The only VFL etiology group that rated lower than other groups was the diabetes group. Safety orientation and internal control orientation values were best at discriminating between VFL participants in terms of self-perception of driving performance. Participants categorized as “high” in terms of safety skills and internal control were more modest in their ratings. Finally, participants who passed the simulated driving test did not differ from those who failed, in any of the self-perception measures.ConclusionSelf-perception ratings among individuals with VFL were higher than those of normally sighted elderly individuals. Self-assessed skills did not predict driving performance. Groups with different VFL etiologies rated similarly. Self-ratings of driving abilities cannot be used to assess actual driving performance. Actual driving tests are necessary to discriminate between safe and unsafe drivers with VFL. (shrink)

A new line of self projection magazines that started blooming in Lagos, Nigeria, about the mid-1990s defined itself by filling almost completely every issue with photographs that depict politicians, businesspeople, sports and show business stars enjoying fruits of their extraordinary achievements on festive occasions. The magazine’s cozy coverage of the rich and famous irks a lot of serious cultural and literary critics who believe that this style resembles praise singing too closely. This paper, unlike mainline criticisms of the pictorial magazines, (...) takes praise singing to be a serious subject. Its central proposition is that the Nigerian magazine culture embraced these magazines because they have successfully translated into photography the panegyric tendency that pervades popular, self-projection arts in the underlying Yorùbá cultural environment of southwestern Nigeria. The sub-genre of Yorùbá panegyric that the magazines rework into the photographic medium is oríkì bọ̀rọ̀kìnní, or praise chants of the eminent. The paper analyzes sample issues of Ovation magazine to outline ways of placing contemporary African cultural forms in a long perspective and to propose an example of how inter-mediality operates today in popular cultures. In the concluding section, the essay proposes that a “poetic” understanding of photography, as opposed to “theatricality” and or melancholic substitution, represents the best way to think about the type of festive portraiture practiced in Ovationand its imitators. (shrink)

This report concerns the fragmented visual percepts in a woman, TR, following a right entorhinal–perirhinal infarct. In a previous report, Weddell [Weddell, R. A. . A visual disorder producing highly selective deletion of recurring letters. Cortex, 41, 471–485] linked TR’s highly selective tendency to delete recurrent letters with her fragmented percepts. The conflation of same-identity form elements was attributed to anterior extrastriate damage, which reduced the amount of information sustainable in fully resolved visual percepts, and the present (...) experimental investigation of her subjective account of segment formation and resolution completes the story. She said that complex objects and long words first appeared as blurred regions, which sometimes included form elements. It is argued that figure-centred attentional mechanisms subdivided this blurred region into up to 3–4 parts. String length, lexical status , and background colour and/or luminance determined fragment length. Two rules described the fragment resolution sequence: largest segments usually resolved first, left-to-right resolution accounting for a few sequences. This resolution sequence occurred when stimuli were exposed too briefly for saccadic exploration, implicating endogenous attentional shifts. Experiment 4 confirmed TR’s assertion that spatial, orthographic, and phonological information were stored during the fragment resolution process. Moreover, TR exerted considerable voluntarily control over the fragment resolution sequence and some influence over fragment length. Finally, these findings were interpreted in terms of an extended version of a neural network model of vision largely derived from nonhuman primate studies. (shrink)

According to conceptual metaphor, this study finds and categorizes three metaphors in perfume commercials: FRAGRANCE IS ATTRACTION, FRAGRANCE IS EMOTION, and FRAGRANCE IS OBJECT. Drawing on the analytical tool of multimodal metaphor analysis, the study further analyzes how perfume commercials complete the metaphorical operation mechanism of mapping from visual and auditory modes to olfactory. It is found that, different from the traditional definition of a concrete source domain and an abstract target domain in conceptual metaphors, the joint participation of (...) multiple modes in commercials may cause a reversal of the degree of abstraction between the source and the target. Due to the limitation of transmitting olfactory information in fragrance commercials where the audience can only receive audible and visual information, “scent” becomes a more abstract concept, while the abstract concepts of “attraction” and “emotion” become a more concrete source. Additionally, the three metaphors’ advertising effects in fragrance commercials are evaluated. Theoretical implications for future studies in multimodal metaphor analysis are also discussed. (shrink)

IntroductionCerebral visual impairment is an important cause of visual impairment in western countries. Perinatal hypoxic-ischemic damage is the most frequent cause of CVI but CVI can also be the result of a genetic disorder. The majority of children with CVI have cerebral palsy and/or developmental delay. Early diagnosis is crucial; however, there is a need for consensus on evidence based diagnostic tools and referral criteria. The aim of this study is to develop guidelines for diagnosis and referral in (...) CVI according to the grade method.Patients and MethodsWe developed the guidelines according to the GRADE method 5 searches on CVI were performed in the databases Medline, Embase, and Psychinfo, each with a distinct topic.ResultsBased on evidence articles were selected on five topics: 1. Medical history and CVI-questionnaires 23. 2. Ophthalmological and orthoptic assessment 37. 3. Neuropsychological assessment 5. 4. Neuroradiological evaluation and magnetic resonance imaging 9. 5. Genetic assessment 5.ConclusionIn medical history taking, prematurity low birth weight and APGAR Scores are important. Different questionnaires are advised for children under the age of 3 years, older children and for specific risk groups. In ophthalmological examination, eye movements, specially saccades, accommodation, crowding, contrast sensitivity and visual fields should be evaluated. OCT can show objective signs of trans-synaptic degeneration and abnormalities in fixation and saccades can be measured with eye tracking. Screening of visual perceptive functioning is recommended and can be directive for further assessment. MRI findings in CVI in Cerebral Palsy can be structured in five groups: Brain maldevelopment, white and gray matter lesions, postnatal lesions and a normal MRI. In children with CVI and periventricular leukomalacia, brain lesion severity correlates with visual function impairment. A differentiation can be made between cortical and subcortical damage and related visual function impairment. Additional assessments can be necessary to complete the diagnosis of CVI and/or to reveal the etiology. (shrink)

Unlike those with type 1 blindsight, people who have type 2 blindsight have some sort of consciousness of the stimuli in their blind field. What is the nature of that consciousness? Is it visual experience? I address these questions by considering whether we can establish the existence of any structural—necessary—features of visual experience. I argue that it is very difficult to establish the existence of any such features. In particular, I investigate whether it is possible to visually, or (...) more generally perceptually, experience form or movement at a distance from our body, without experiencing colour. The traditional answer, advocated by Aristotle, and some other philosophers, up to and including the present day, is that it is not and hence colour is a structural feature of visual experience. I argue that there is no good reason to think that this is impossible, and provide evidence from four cases—sensory substitution, achomatopsia, phantom contours and amodal completion—in favour of the idea that it is possible. If it is possible then one important reason for rejecting the idea that people with type 2 blindsight do not have visual experiences is undermined. I suggest further experiments that could be done to help settle the matter. (shrink)

The concept of simultaneous masking in visual field is discussed, in the light of classical examples, of the various kinds of the phenomenon, of a modal completion, of the figure/ground phenomenon, of ambiguous and reversible figures, of mimicry and camouflage and eventually of the complexity of the stimulus. There is some reference to masking in auditory field. The “reality” of the masked configuration is discussed, drawing the conclusion that it is perceptually unreal. The fact that the masking phenomenon (...) cannot take place without comparison between two perceptual acts – what we see at one moment and what we see a moment after LATER – and the fact that the masked configuration pops out with some surprise, lead to the conclusion that simultaneous masking in visual field is not a bare perceptual phenomenon, but a psychological process not unlike insight. (shrink)

This Handbook of Visual Communication explores the key theoretical areas and research methods of visual communication. With chapters contributed by many of the best-known and respected scholars in visual communication, this volume brings together significant and influential work in the discipline. The second edition of this already-classic text has been completely revised to reflect the metamorphosis of communication in the last 15 years and the ubiquity of visual communication in our modern mediated lifestyle. Thriteen major theories (...) of communication are defined by the top experts in their fields: perception, cognition, aesthetics, visual rhetoric, semiotics, cultural studies, ethnography, narrative, media aesthetics, digital media, intertextuality, ethics, and visual literacy. Each of these theory chapters is followed by an exemplar study or two in the area, demonstrating the various methods used in visual communication research as well as the research approaches applicable for specific media types. The Handbook of Visual Communication is a theoretical and methodological handbook for visual communication researchers and a compilation for much of the theoretical background necessary to understand visual communication. It is required reading for scholars, researchers, and advanced students in visual communication, and it will be influential in other disciplines such as advertising, persuasion, and media studies. The volume will also be essential to media practitioners seeking to understand the visual aspects of how audiences use media to contribute to more effective use of each specific medium. (shrink)

The first complete history of Minneapolis and St Paul published in two decades. The book spans their ramshackle beginnings as cross-river rivals to their thriving metropolitan partnership today.

This study provides evidence that eye movements reflect the positions of objects while participants listen to a spoken description, retell a previously heard spoken description, and describe a previously seen picture. This effect is equally strong in retelling from memory, irrespective of whether the original elicitation was spoken or visual. In addition, this effect occurs both while watching a blank white board and while sitting in complete darkness. This study includes 4 experiments. The first 2 experiments measured eye movements (...) of participants looking at a blank white board. Experiment 1 monitors eye movements of participants on 2 occasions: first, when participants listened to a prerecorded spoken scene description; second, when participants were later retelling it from memory. Experiment 2 first monitored eye movements of participants as they studied a complex picture visually, and then later as they described it from memory. The second pair of experiments (Experiments 3 and 4) replicated Experiments 1 and 2 with the only difference being that they were executed in complete darkness. This method of analysis differentiated between eye movements that are categorically correct relative to the positions of the whole eye gaze pattern (global correspondence) and eye movements that are only locally correct (local correspondence). The discussion relates the findings to the current debate on mental imagery. (shrink)

Perception and action are tightly coupled. However, there is still little recognition of how individual motor constraints impact perception in everyday life. Here we asked whether and how the motor slowing that accompanies aging influences the sense of visual speed. Ninety-four participants aged between 18 and 90 judged the natural speed of video clips reproducing real human or physical motion. They also performed a finger tapping task and a visual search task, which estimated their motor speed and visuospatial (...) attention speed, respectively. Remarkably, aged people judged videos to be too slow, as compared to younger people: the Point of Subjective Equality, which estimated the speed bias in the SoS task, was +4% in young adults, +12% in old adults and +16% in elders. On average, PSE increased with age at a rate of 0.2% per year, with perceptual precision, adjustment rate, and completion time progressively worsening. Crucially, low motor speed, but not low attentional speed, turned out to be the key predictor of video speed underestimation. These findings suggest the existence of a counterintuitive compensatory coupling between action and perception in judging dynamic scenes, an effect that becomes particularly germane during aging. (shrink)