Agnosia is characterized by intact sensory perception but impaired semantic mapping, leading to deficits in object, face, auditory, or tactile recognition. This paper proposes a **grammar-based scaffold intervention** that leverages generative syntax to facilitate emergent perception. By encoding sensory features into a formal syntax and using multimodal external scaffolds, such as American Sign Language (ASL), visual-tactile mappings, or symbolic gestures, patients can develop alternative cognitive pathways. This approach allows compensatory learning, enhances affordance detection, and may convert deficits into (...) emergent abilities. The intervention is applicable across multiple agnosia types and provides a theoretical framework connecting neuroplasticity, extended mind, and compensatory cognition. (shrink)

Integration information theories posit that the integration of information is necessary and/or sufficient for consciousness. In this paper, we focus on three of the most prominent information integration theories: Information Integration Theory, Global Workspace Theory, and Attended Intermediate-Level Theory. We begin by explicating each theory and key concepts they utilize. We then argue that the current evidence indicates that the integration of information is neither necessary nor sufficient for consciousness. Unlike GWT and AIR, IIT maintains that conscious experience is both (...) necessary and sufficient for consciousness. We present empirical evidence indicating that simple features are experienced in the absence of feature integration and argue that it challenges IIT’s necessity claim. In addition, we challenge IIT’s sufficiency claim by presenting evidence from hemineglect cases and amodal completion indicating that contents may be integrated and yet fail to give rise to subjective experience. Moreover, we present empirical evidence from subjects with frontal lesions who are unable to carry out simple instructions and argue that they are irreconcilable with GWT. Lastly, we argue that empirical evidence indicating that patients with visual agnosia fail to identify objects they report being conscious of present a challenge to AIR’s necessity claim. (shrink)

There is tension between commonly held views concerning phenomenal imagery on the one hand and our first-person epistemic access to it on the other. This tension is evident in many individual issues and experiments in philosophy and psychology (e.g. inattentional and change blindness, the speckled hen, dream coloration, visual periphery). To dissolve it, we can give up either (i) that we lack full introspective access to the phenomenal properties of our imagistic experiences, or (ii) that phenomenal imagery is fully (...) determined, or (iii) that phenomenal imagery does not exist. Which option is preferable? I explore the feasibility of option (ii) in more details by distinguishing between di erent kinds of indeterminacy. One of the most often proclaimed versions of indeterminacy is tied to Representationalism. However, I argue that in this context, Representationalism appears to be the least satisfying option, for which I give ten reasons. By abduction, we should reject Representationalism in favour of (i) or (iii)—the most parsimonious option being eliminativism, and the most conservative being the rejection of privileged access. The decision between these two, however, should be made on a case-by-case basis, depending on which is most adequate given the data. I illustrate this with the comparison between visual agnosia and Charles-Bonnet-Syndrome. (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental processes and (...) that the drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

I respond to three arguments aimed at establishing that natural kind properties — a kind of high-level properties — occur in the experiential content of visual perceptual experience: the argument from phenomenal difference, the argument from mandatory seeing, and the argument from associative agnosia. I conclude with a simple argument against the view that natural kind properties occur in the experiential content of visual experience.

In this dissertation, I reaffirm one aspect of the traditional divide between perception and belief, by arguing that perception and belief can can be distinguished by their rational roles. Partly relying on this proposed rational difference between perception and belief, I reject a different aspect of the traditional picture, on which perception cannot represent conceptually sophisticated features. Focusing on the visual modality, I argue that visual experience can represent at least some features other than shape, color, and movement. (...) More particularly: I consider and criticize some extant arguments for high-level perception, including an argument from introspection and an argument from agnosia. I develop a new reason to think that beliefs are necessarily rationally revisable in a certain way, and I ultimately argue that in some cases, we have literal visual experiences as of others' mental states, such as their proximal intentions. (shrink)

I critically examine Adams and Garrison’s proposed necessary condition for the mark of the cognitive (Adams and Garrison in Minds Mach 23(3):339–352, 2013). After a brief presentation of their position, I argue not only that their proposal is in need of additional support, but also that it is too restrictive.

How is it that individuals who deny experiencing visual imagery nonetheless perform normally on tasks which seem to require it? This puzzle of aphantasia has perplexed philosophers and scientists since the late nineteenth century. Contemporary responses include: (i) idiosyncratic reporting, (ii) faulty introspection, (iii) unconscious imagery, and (iv) complete lack of imagery combined with the use of alternative strategies. None offers a satisfying explanation of the full range of first-person, behavioural and physiological data. Here, I diagnose the puzzle of (...) aphantasia as arising from the mistaken assumption that variation in imagery is well-captured by a single ‘vividness’ scale. Breaking with this assumption, I defend an alternative account which elegantly accommodates all the data. Crucial to this account is a fundamental distinction between visual-object and spatial imagery. Armed with this distinction, I argue that subjective reports and objective measures only testify to the absence of visual-object imagery, whereas imagery task performance is explained by preserved spatial imagery which goes unreported on standard ‘vividness’ questionnaires. More generally, I propose that aphantasia be thought of on analogy with agnosia, as a generic label for a range of imagery deficits with corresponding sparing. (shrink)

Although Wayne Wu correctly identifies a flaw in the way in which my 2009 article frames the debate about ‘zombie action’, he fails in his attempts to strengthen the case for thinking that our actions are under less conscious control than we usually imagine. His argument, like the arguments that my earlier paper addressed, can be blocked by allowing that an embodied demonstrative concept can contribute contents to a visual experience.

The Core Emotion Framework (CEF) presents a structural constructivist architecture of human affect, defining emotional experience as emergent configurations of ten universal operators distributed across the Head, Heart, and Gut Centers. Using the Mirror Technique’s tri column visual layout—Outgoing, Reflecting, and Balancing—the framework maps how emotional energy flows through cognitive, relational, and conative systems. Pathological states arise from structural failures in this architecture, expressed as operator dominance, suppression, or pathological fusion. Empirical signatures of these states are captured through behavioral (...) scaling tasks and high frequency somatic metrics from the Autonomous Emotional Cycling Machine (ECM v3.1), enabling objective identification of entanglement patterns. The framework reinterprets major clinical constructs—such as Borderline Personality Disorder, Narcissistic Personality Disorder, and Compulsive Obstinacy—as specific breakdowns in operator balance and cross center integration. A modality crosswalk demonstrates how evidence based psychotherapies selectively activate and rehabilitate operator deficits. Ongoing validation of the CEF Scale employs a multi level factor analytic design to confirm the ten operator structure, tripartite center loading, functional flexibility, and entanglement metrics. The CEF thus provides a unified diagnostic and therapeutic system capable of identifying and resolving the structural root causes of emotional dysregulation. Keywords: Core Emotion Framework; emotional operators; structural constructivist affective science; Mirror Technique; operator dominance; operator suppression; operator fusion; structural entanglement; tri centric architecture; Head Heart Gut Centers; emotional scaling tasks; somatic load mapping; ECM v3.1; Borderline Personality Disorder; Narcissistic Personality Disorder; Compulsive Obstinacy; psychotherapy modality mapping; structural diagnostics; functional flexibility; CEF Scale; oblique factor structure; emotional architecture. (shrink)

In this paper, translation engages not only with metaphors, but the ‘consistent multiplicity’ (Alliez & Feher 1986: 41) of figures of speech that intersemiotically animate Australian artist Brett Whiteley’s (1939-92) verbal and pictorial language. The aim is to address some ‘formative questions […] concerning language, medium and meaning’ (Harrison 2004: 5) by studying the rhetoric devices featuring in two texts: a letter written by Whiteley to his mother in 1979, and the painting Art, life and the other thing (1978). The (...) letter and the painting intersect in a series of hypertextual links, and map language nomadism across words and images. The comparative analysis of Whiteley’s painting and letter displays that the translating process is deeply influenced and sometimes completely transformed by the concurrence of heterogeneous elements. Pictures and words relate to each other: when translation enters, the text is completed. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a (...) picture surface as flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

Costume and makeup constitute critical interpretative elements in film productions. They function as visual symbols through which narrative meaning, character identity, and historical situations are communicated. In historical filmmaking, especially within Nollywood, inaccuracies in costume and makeup design can undermine authenticity, distort cultural and national memory, and weaken historical representation. Against this backdrop, this study examines historical costume and makeup as visual narratives in Badamasi: The Portrait of a General (2020). The objectives were to analyse the role of (...) costume and makeup in the visual recreation of historical figures and examine how costume design contributed to the construction and communication of historical events. Adopting a qualitative research approach, the study employed a typical case study design using purposive sampling to select Badamasi… as the case study. The units of analysis were costume and makeup, while qualitative content analysis was used to interpret the visual elements. Anchored in Cultural Memory Theory and Roland Barthes’ semiotic framework to interrogate costume and makeup as systems of signs that encode historical meanings, the findings revealed that costume and makeup were strategically employed to reconstruct historical events with makeup playing a significant role in character identification and differentiation. The study concluded that visual design elements like costume and makeup are central to the reconstruction and communication of Nigeria’s historical experience in film. It recommended that filmmakers establish formal partnerships with relevant institutions to access verified historical records and authentic costume references, and further advocates for supportive policies that encourage historical filmmaking in Nigeria. (shrink)

The article explores visual culture as a conceptual and practical foundation for managerial thinking in the modern restaurant industry. It argues that visual culture, beyond its aesthetic function, serves as a cognitive and organizational framework that shapes strategic, operational, and communicative processes within hospitality enterprises. Drawing on an interdisciplinary methodology that combines visual studies, management theory, and case analysis, the authors examine how visual identity, design, and media integration affect managerial decisions, internal coordination, and customer interaction. (...) The study highlights the phenomenon of the “visual turn,” which redefines managerial cognition through imagery, visual metaphors, and spatial structures. Empirical cases of restaurant brands, such as Taco Love, The Oak Stave, and Chipotle, demonstrate that a consistent visual identity, coherent social media representation, and well-structured spatial aesthetics increase brand recognizability, emotional engagement, and organizational coherence. The research identifies the motivational dimensions of visual thinking, emphasizing how visualization enhances decision clarity, stimulates creativity, and strengthens responsible leadership within service teams. The findings confirm that visual culture serves as both a communicative and motivational mechanism for developing managerial literacy, fostering ethical awareness, and shaping leadership identity in the hospitality sector. The study concludes that visual management tools - dashboards, graphic standards, infographics, and storytelling media—constitute not merely instruments of representation but cognitive architectures that structure thought and behavior in the contemporary restaurant environment. (shrink)

Three of the most robust functional landmarks in the human brain are the selective responses to faces in the fusiform face area (FFA), scenes in the parahippocampal place area (PPA), and bodies in the extrastriate body area (EBA). Are the selective responses of these regions present early in development or do they require many years to develop? Prior evidence leaves this question unresolved. We designed a new 32-channel infant magnetic resonance imaging (MRI) coil and collected high-quality functional MRI (fMRI) data (...) from infants (2–9 months of age) while they viewed stimuli from four conditions—faces, bodies, objects, and scenes. We find that infants have face-, scene-, and body-selective responses in the location of the adult FFA, PPA, and EBA, respectively, powerfully constraining accounts of cortical development. (shrink)

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

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

When viewing a circular coin rotated in depth, it fills an elliptical region of the distal scene. For some, this appears to generate a two-fold experience, in which one sees the coin as simultaneously circular (in light of its 3D shape) and elliptical (in light of its 2D ‘perspectival shape’ or ‘p-shape’). An energetic philosophical debate asks whether the latter p-shapes are genuinely presented in perceptual experience (as ‘perspectivalists’ argue) or if, instead, this appearance is somehow derived or inferred from (...) experience (as ‘anti-perspectivalists’ argue). This debate, however, has largely turned on introspection. In a recent study, Morales, Bax, and Firestone (2020) aim to provide the first empirical test of this question. They asked subjects to find an elliptical coin seen face-on from a search array that also included a circular coin seen either face-on or at an angle. They found that subjects reacted more slowly when the distracting circle was seen at an angle, such that it’s p-shape matched that of the target ellipse. From this, they concluded that the similar p-shape between the ellipse and circle constituted a phenomenal similarity between the two, and thus that perspectivalism is true. We show that these results can also be explained by pre-attentive guidance by unconscious representations (in what follows, just “unconscious pre-attentive guidance”) and that this explanation is at least as plausible as one from phenomenal similarity. Thus, we conclude that the experiment does not support perspectivalism over anti-perspectivalism. (shrink)

Fred Dretske made important contributions to the debate concerning how to distinguish perception from cognition, to the question of whether perceptual content is ‘Rich’ or ‘Sparse’ and to developing the thesis that perceptual experience employs a distinctively iconic format of representation. In Dretske (2015) he offered a method or criterion for determining whether or not two subjects have visual experiences with different phenomenal characters, which he dubbed the ‘Goldilocks Test’. In this paper I criticize Dretske’s proposal, drawing on various (...) visual phenomena in order to argue that this ‘Goldilocks Test’ is not fit for purpose and that it cannot help us to arbitrate the debate between ‘Rich’ and ‘Sparse’ theories of perceptual content. (shrink)

The article explores the phenomenon of visual and aesthetic thinking as an emerging managerial competence and an integral component of management culture in the hospitality industry. Moving beyond traditional rational approaches, the study conceptualizes visual-aesthetic thinking as a form of managerial intelligence that integrates cognitive, sensory, and cultural dimensions of decision-making. It emphasizes that visual perception, color, composition, and spatial design function as non-verbal management tools capable of structuring team behavior, stimulating creativity, and reinforcing brand identity. Based (...) on content analysis and comparative review of international and Ukrainian research, the authors identify four structural dimensions of this phenomenon: visual culture as a channel of managerial communication, the cognitive-aesthetic nature of decision-making, the aesthetic environment as a managerial instrument, and visual-aesthetic thinking as a marker of advanced leadership culture. The study demonstrates how managers in hotels and restaurants utilize visual codes, design elements, and aesthetic cues to create multisensory service environments that enhance staff motivation, improve customer experience, and promote emotional coherence within teams. The authors argue that the aestheticization of management contributes to organizational stability, cognitive economy, and the emotional sustainability of service personnel. The findings expand theoretical understanding of aesthetic intelligence in management and suggest practical implications for leadership development, staff adaptation, and the design of emotionally engaging service spaces in the hospitality sector. (shrink)

It has long been known that memory need not be a literal reproduction of the past but may be a constructive process. To say that memory is a constructive process is to say that the encoded content may differ from the retrieved content. At the same time, memory is bound by the authenticity constraint which states that the memory content must be true to the subject's original perception of reality. This paper addresses the question of how the constructive nature of (...) visual memory can be reconciled with the authenticity constraint. In what respect and to what extent may the content of a visual memory differ from the original perceptual state while still adequately reflecting the subject's original perception? (shrink)

Cities have consistently served as fertile grounds for the emergence and growth of radical ideas, political transformations, and social movements, with urban landscapes nurturing visionary concepts, idealism, and revolutionary ideologies. This research delves into the captivating world of radical cities, exploring the power of image and visual narratives to communicate and comprehend urban activism within diverse contexts. By analyzing various case studies and student works, we aim to create, study, and reimagine vivid portrayals of urban activism, radical urbanism, and (...) future socio-spatial developments. The focus lies on developing innovative visual modalities and collaborative critical pedagogical approaches that engage with the complexities of radical cities across North America, Latin America, Asia, Europe, and beyond. In this study, we explore the potential of image and visual narratives to decode and understand pivotal societal transitions in radical cities. By employing imaginative and critical pedagogy, we aspire to foster a more profound comprehension of urban activism and its impact on shaping the cities of the future. (shrink)

Aphantasia, namely the inability to voluntarily form visual mental imagery, does not, counterintuitively, impair the affected from successfully performing mental imagery tasks. One way of explaining this finding is to posit that aphantasics, despite their claim to the contrary, can form visual imagery, a position here referred to as aphantasia skepticism. This article outlines and rejects two types of aphantasia skepticism and argues that the position results from what is coined the visualizer’s fallacy, namely the false belief that (...) visual mental imagery is necessary to carry out mental imagery tasks. Furthermore, it is argued that the visualizer’s fallacy and the resulting aphantasia skepticism are not only potentially harmful to aphantasics but may also lead to an impoverished view of the dynamics of cognition in general. -/- . (shrink)

This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).

Visual representations express distinctively visual content. Such content takes the form of a kind of space where objects and properties are assigned locations in relation to a viewpoint. Many have conceived of visual space as a metric three-dimensional volume, analogous to physical space. Yet this assumption, I argue, over-constrains visual content, excluding the ubiquitous phenomenon of indeterminate depth perception. In this paper, I propose that visual contents are view spaces: two-dimensional directional arrays of objects, properties (...) and relations. View spaces prioritize visual direction as a core aspect of structure, while demoting depth to a variable feature like colour or shape. This proposal accommodates depth indeterminacy while preserving distinctive visual structure, and it aligns with the use of feature maps in vision science and computer vision. I will argue that this architectural differentiation of direction and depth is supported by a wide range of evidence from philosophy and psychology. (shrink)

(Open Access article, freely available to download from publisher's site.) Our visual experiences of objects as located in external space, and as having definite three-dimensional shapes, are closely linked to our implicit expectations about what things will look like from alternative viewpoints. What sorts of contents do these expectations involve? One standard answer is that they relate to what things will look like to us upon changing our positions. And what sorts of mental representations do the expectations call upon? (...) A standard answer is that they involve our powers of visual imagery; this answer requires us to allow for the possibility of unconscious visual imagery, however. The current paper presents an alternative model of the contents of our implicit visual expectations, one that regards them as wholly nonreflexive. It also argues that, once we ascribe the relevant contents to the expectations, there is no longer any reason for holding that they involve our powers of visual imagery. (shrink)

Neuroscience hasn’t shown how quite similar sensory circuits encode quite different colors and other qualia, nor how the unified pictorial form of images is encoded, nor how these codes yield conscious images. Neuroscience’s fixation here on cortical codes may be the culprit. Treating conscious images partly as retinal substances may avoid these problems. The evidence for conscious retinal images is that (a) the cortical codes for images are quite problematic, (b) injecting retinas with certain genes turns dichromats into trichromats without (...) cortical help, (c) retinas can discern colors by themselves without cortex, (d) retinal distortions appear in images but cortical distortions don’t, (e) retinal detectors support finely detailed colors, but V4 detectors don’t, due to their big receptive fields, (f) retinal activity has pictorial form, but viable cortical codes for pictorial form don’t exist. So, the colors and unified pictorial form of images arguably arise mainly across arrays of retinal detectors—not from abstract cortical codes. Images may be hidden in retinal activity beyond what EEGs show of it (cf. Strawson’s monism). Also, cortex refines these retinal images but cortical impairment (anesthesia, lesions, etc.) blocks awareness of them, for they’re no longer accessible to the mind’s subject-centered consciousness, resident in cortex. This proposal is largely testable and based in recent evidence. It avoids neuroscience’s elusive, problematic coded images and enigmatic explanations of how they become conscious. (shrink)

Many philosophers have held that it is not possible to experience a spatial object, property, or relation except against the background of an intact awareness of a space that is somehow ‘absolute’. This paper challenges that claim, by analyzing in detail the case of a brain-damaged subject whose visual experiences seem to have violated this condition: spatial objects and properties were present in his visual experience, but space itself was not. I go on to suggest that phenomenological argumentation (...) can give us a kind of evidence about the nature of the mind even if this evidence is not absolutely incorrigible. (shrink)

A visual experience, as understood here, is a sensory event that is conscious, or like something to undergo. This chapter focuses on three issues concerning such experiences. The first issue is the so-called ‘transparency’ of experiences. The chapter distinguishes a number of different interpretations of the suggestion that visual experiences are ‘transparent’. It then discusses in what sense, if any, visual experiences are ‘transparent’, and what further conclusions one can draw from that. The second issue is which (...) properties we are presented with in visual experiences. It is widely accepted that we sometimes experience red for example. But exactly which properties do we sometimes visually experience, and which properties do we never visually experience? The third issue is which particulars, if any, we are presented with in visual experiences. Do we for example sometimes visually experience mind-independent particulars like trees? Do we sometimes visually experience mind-dependent, particular ‘sense-data’? (shrink)

Evidence from cognitive science supports the claim that humans and other animals see the world as divided into objects. Although this claim is widely accepted, it remains unclear whether the mechanisms of visual reference have representational content or are directly instantiated in the functional architecture. I put forward a version of the former approach that construes object files as icons for objects. This view is consistent with the evidence that motivates the architectural account, can respond to the key arguments (...) against representational accounts, and has explanatory advantages. I draw general lessons for the philosophy of perception and the naturalization of intentionality. (shrink)

Abstract—This paper proposes a new theoretical framework for understanding the aesthetic shifts in digital media: algorithmic affectography, which is defined as the aesthetic emerging from the affective resonance between users, algorithms, and the platform ecosystem. By integrating posthuman philosophy (Hayles, Braidotti), affect theory (Massumi, Paasonen), and new media theory (Manovich, Shaviro), this research argues that vertical video (9:16) is not a representation of aesthetic degradation, but an evolution towards a new paradigm: from representational aesthetics to affective-participatory aesthetics. Through a qualitative- (...) quantitative analysis of 50 viral videos (2024–2025) from TikTok, Instagram Reels, and YouTube Shorts, the findings demonstrate three fundamental transformations: (1) a shift from formal composition to emotional resonance; (2) mass participation as an aesthetic mechanism; and (3) the algorithm as a posthuman curator. This paper contributes to contemporary discussions on post-cinematic aesthetics by offering the concept of affectography as an analytical and practical framework for academics, content creators, and platform designers. (shrink)

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

A fundamental question in the psychological sciences is the degree to which culture shapes core cognitive processes — perhaps none more foundational than how we perceive the world around us. A dramatic and oft-cited “case study” of culture’s power in this regard is the Müller-Lyer illusion, which depicts two lines of equal length but with arrowheads pointing either inward or outward, creating the illusion that one line is longer than the other. According to a line of research stretching back over (...) a century, depending on the society you were raised in (and how much carpentry you were exposed to), you may not see the illusion at all — an ambitious and influential research program motivating claims that seemingly basic aspects of visual processing may actually be “culturally evolved byproducts”. This Cultural Byproduct Hypothesis bears on foundational issues in the science, philosophy, and sociology of psychology, and remains popular today. Yet, here we argue that it is almost certainly false. We synthesize evidence from diverse fields which demonstrate that: (1) the illusion is not limited to humans, appearing in non-human animals from diverse ecologies; (2) the statistics of natural scenes are sufficient to capture the illusion; (3) the illusion does not require straight lines typical of carpentry (nor even any lines at all); (4) the illusion arises in sense modalities other than vision; and (5) the illusion arises even in congenitally blind subjects. Moreover, by reexamining historical data and ethnographic descriptions from the original case studies, we show that the evidence for cultural variation and its correlation with key cultural variables is in fact highly inconsistent, beset by questionable research practices, and misreported by later discussions. Together, these considerations undermine the most popular and dramatic example of cultural influence on perception. We further extend our case beyond this phenomenon, showing that many of these considerations apply to other visual illusions as well, including similarly implicated visual phenomena such as the Ebbinghaus, Ponzo, Poggendorf, and Horizontal-Vertical illusions. We conclude by outlining future approaches to cross-cultural research on perception, and we also point to other potential sources of cultural variation in visual processing. (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 (...) class='Hi'>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)

This essay re-examines the once promising idea that style analysis can provide an independent source of insight into an artifact's non-stylistic context. The essay makes explicit the consequences of treating collective style as such a source in archaeology and anthropology of art, and further develops a new framing for the idea that avoids the criticisms largely responsible for the decline in theoretical interest in the epistemic import of visual style analysis since World War II. This re-framing proposes that inference (...) from style to context is permissible on those occasions when a collective style signals by its morphology its suitability to serve a certain function. And it does so because it prescribes publicly certain modes of behavior or spectatorship. Furthermore, the public nature of the signaling may be such that it allows even uninitiated spectators to get a sense of it and thus to gain access to some of the motivations and norms informing the collective's form of life. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various (...) kinds of metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

This research paper investigates the transformative applications of data visualization techniques in the realm of financial crime detection, with a specific emphasis on addressing the challenges posed by credit card fraud and money laundering. The abstract explores the intricate landscape of visualizing financial data to uncover patterns, anomalies, and potential illicit activities. Through a comprehensive review of existing methodologies and case studies, the paper illuminates the pivotal role data visualization plays in enhancing the efficiency and accuracy of fraud detection systems. (...) By synergizing advanced visualization tools with machine learning algorithms, the study aims to provide insights into how financial institutions can bolster their defenses against evolving threats. Ethical considerations, usability, and the real-world impact of data visualization in combating financial crime are also scrutinized. This research contributes to the evolving discourse on leveraging visualization technologies to fortify financial systems against illicit activities, fostering a proactive and responsive approach to safeguarding economic ecosystems. (shrink)

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

A common objection to representationalism is that a representationalist view of phenomenal character cannot accommodate the effects that shifts in covert attention have on visual phenomenology: covert attention can make items more visually prominent than they would otherwise be without altering the content of visual experience. Recent empirical work on attention casts doubt on previous attempts to advance this type of objection to representationalism and it also points the way to an alternative development of the objection.

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)

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