Search

This workbook provides a collection of experiments and observations that use physical materials (rather than digital displays or resources) to reveal fundamental properties of the human visual system.Practical Vision Science centers discovery, observation, and critical thinking. By observing and manipulating visual phenomena, readers gain insights regarding visual processing from the outside world into high-level areas of the visual cortex. The text covers geometric optics, image formation, early stages of visual processing, and inferences regarding brightness, color, depth, motion, and form. The goal is to highlight the critical role that observation of one's own sensory experiences plays in vision science, while introducing phenomena that provide clues about the computations and constraints that shape our experience of the visual world. Each exercise can be completed with everyday materials, and the text includes discussion of key phenomena readers should be able to observe and the implications of these effects for underlying mechanisms that support visual experience in each case.Practical Vision Science is an essential text for upper undergraduate and postgraduate students of Sensation and Perception, providing the opportunity to learn by doing things rather than reading facts about the visual system on the page.

This edited collection provides a comprehensive and empirically informed discussion on affordances and their role in studying goal-directed behavior, covering philosophical, experimental psychological, neuroscientific, and applied perspectives.Showcasing the work of expert contributors from different backgrounds, the book inspires new directions for future research in affordances. Chapters address questions relating to the definition and perception of affordances, their advantages over stimuli, the relationship between affordances and behavior, and how systems engage with affordances in different tasks and intentions. This question-based format provides a distinctive perspective that allows for a thorough exploration of the expansive field of affordance research.This book serves as a crucial resource for seasoned scientists, researchers, and undergraduate and graduate students in the fields of ecological psychology, sensation and perception, cognition, and the philosophy of cognitive science, as well as non-academic individuals interested in mind sciences broadly construed. It provides valuable insights and knowledge in these fields, making it an essential reference for those seeking to deepen their understanding in the areas of perception and cognition.Chapter 5 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license

Archaeological and anthropological investigations of depictions seldom extend beyond a single culture or a single geographical location, although there is a powerful factor common to all depictions, the factor of human perception. In this volume an attempt is made to show how this factor affects both creation and recognition of depictions, how, in common with everyday vision of the environment, typical contours are derived and used, not merely to depict individually readily recognisable models, but also how by concatenation they lead to such a splendid figure as Australian Kakadu crocodiles, or by distortion to creation of illusions of pictorial depth, such as is evoked by Leonardo da Vinci's perspective and by inverted (Byzantine) perspective thought by some to be an aberration. Bartel's studies show that pictorial depth is often achieved to the artist's, and many a viewer's, but not to geometer's satisfaction by partial distortion, and Chinese masterpieces embody, side by side, ‘normal'and inverted perspective. The visual process is universally uniform (if it were not, one would not be able to recognise an Altamira bison as a bison) and its foibles can be freely exploited. Its best known exploiter is probably Cezanne. His pictures are admired by many and puzzle many. Strzemiński postulated that they compound distinct lines of sight, thus endorsing primacy of central vision, a concept thought by Gombrich to be of greater import to geometers than to artists.

The Routledge International Handbook of Neuroaesthetics is an authoritative reference work that provides the reader with a wide-ranging introduction to this exciting new scientific discipline. The book brings together leading international academics to offer a well-balanced overview of this burgeoning field while addressing two questions central to the field: how the brain computes aesthetic appreciation for sensory objects and how art is created and experienced.The editors, Martin Skov and Marcos Nadal, have compiled a neuroscientific, physiological, and psychological overview of the systems underlying the evaluation of sensory objects and aesthetic appreciation. Covering a variety of art forms mediated by vision, audition, movement, and language, the handbook puts forward a critical review of the current research to explain how and why perceptual and emotional processes are essential for art production. The work also unravels the interaction of art with expectations, experience and knowledge and the modulation of artistic appreciation through social and contextual settings, eventually bringing to light the potential of art to influence mental states, health, and well-being. The concepts are presented through research on the neural processes enabling artistic creativity, artistic expertise, and the evolution of symbolic cognition.This handbook is a compelling read for anyone interested in making a first venture into this exciting new area of study and is best suited for students and researchers in the fields of neuroaesthetics, perceptual learning, and cognitive psychology.

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces?This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue.Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible.

Featuring contributions from world-leading researchers, this book explores the relationship between visual perception and memory. It bridges the traditionally separate fields of vision science and recognition memory and deals with an interdisciplinary set of perspectives combining research in psychology, neuroscience, and artificial intelligence.The book makes new connections between the wealth of research from each respective field, developing the idea that visuospatial memory is our best memory system. This volume traverses topics grounded in both empirical study and real-world applications, including working (short-term) memory, long-term memory, the neuroscience of memory, development of memory over the lifespan, autobiographical memories, false memories, and eyewitness testimony. It argues that an increased knowledge of how visuospatial memory works can lead to an improved understanding of the basic features of memory, as well as providing strategies for memory improvement. The book features cutting edge visual memory research, where converging methods in psychophysics, cognitive neuroscience, and computational modeling have been propelling the field forward. Visual Memory is an essential read for all students and researchers of memory and visual perception. It will also be useful for researchers and students in related fields including human-computer interaction, data visualization, cognitive science, and cognitive enhancement.

Why do we need two eyes? Why are all cats grey at night and appear to move faster the day? Why is the sky blue and the setting sun red? This book explains the multifaceted nature of perception, and discusses the mysteries of vision. It provides readers with experiments to help them discover optical illusions and the features of their own perception. Illusions of Seeing begins with a discussion on the essence of light and its perception to the human eye. It presents a comprehensive overview of the basic laws of human perception as well as the fundamentals of good gestalt. Subsequent chapters discuss geometric-optical illusions; the perception of form, brightness, and translucency and their interaction with each other; ambiguous perception, color vision, spatial vision. The book ends with a discussion of the perception of motion and its interaction with color, form, and spatial depth with a full chapter devoted to illusions in our everyday life. Consider this your travel guide in the marvelous world of sight, to experience a completely individual way to understand and improve your own perception.Illusions of Seeing will be of interest to psychologists, physicists, biologists, and undergraduate and graduate students within the field of cognitive psychology.

James J. Gibson's numerous theoretical and empirical contributions to the understanding of how people perceive were innovative, controversial, often radical, and always profound. Many of his ideas revolutionized the science of perception, and his influence continued to grow throughout the world. This book, originally published in 1982, is a collection of the most important of Gibson's essays on the psychology of perception. Drawing from the entire corpus of Gibson's papers, the editors have selected over thirty works dealing with such diverse topics as ecological optics, event perception, pictorial representation, and the conceptual foundations of psychology. The editors'goals in preparing the volume were twofold: first to provide easy access to Gibson's most outstanding papers and talks, including some that were previously unpublished; and second, to provide an intellectual biography of Gibson by including essays from the different periods of his career.

This book provides a chapter-by-chapter update to and reflection on of the landmark volume by J.J. Gibson on the Ecological Approach to Visual Perception (1979).Gibson's book was presented a pioneering approach in experimental psychology; it was his most complete and mature description of the ecological approach to visual perception. Perception as Information Detection commemorates, develops, and updates each of the sixteen chapters from Gibson's volume. The book brings together some of the foremost perceptual scientists in the field, from the United States, Europe, and Asia, to reflect on Gibson's original chapters, expand on the key concepts discussed and relate this to their own cutting-edge research. This connects Gibson's classic with the current state of the field, as well as providing a new generation of students with a contemporary overview of the ecological approach to visual perception.Perception as Information Detection is an important resource for perceptual scientists as well as both undergraduates and graduates studying sensation and perception, vision, cognitive science, ecological psychology, and philosophy of mind.

How the perception of shadows, studied by vision scientists and visual artists, reveals the inner workings of the visual system.In The Visual World of Shadows, Roberto Casati and Patrick Cavanagh examine how the perception of shadows, as studied by vision scientists and visual artists, reveals the inner workings of the visual system. Shadows are at once a massive problem for vision—which must distinguish them from objects or material features of objects—and a resource, signaling the presence, location, shape, and size of objects. Casati and Cavanagh draw up an inventory of information retrievable from shadows, showing their amazing variety. They present an overview of the visual system, distinguishing between measurement and inference. They discuss the shadow mission, the work done by the visual brain to parse, and perhaps discard, the information from shadows; shadow ownership, the association of a shadow with the object that casts it; shadow labeling, the visual system's ability to tell shadows from nonshadows; and the shadow concept, our knowledge about shadows as a category. Casati and Cavanagh then apply the theoretical apparatus they have developed for shadows to other phenomena: illumination, reflection, and transparency. Finally, they examine the art of the shadow, paying tribute to artists'exploration of shadow, analyzing a series of artworks (reproduced in color) from a rich and fascinating art historical corpus.

Visuospatial processing is key to learn and perform professionally in the domains of health and natural sciences. As such, there is accumulating research showing the importance of visuospatial processing for education in diverse health sciences (e.g., medicine, anatomy, surgery) and in many natural sciences (e.g., biology, chemistry, physics, geology). In general, visuospatial processing is treated separately as (a) spatial ability and (b) working memory with visuospatial stimuli. This book attempts to link these two research perspectives and present visuospatial processing as the cognitive activity of two components of working memory (mostly the visuospatial sketch pad, and also the central executive), which allows to perform in both spatial ability and working memory tasks. Focusing on university education in the fields of health sciences and natural sciences, the chapters in this book describe the abilities of mental rotation, mental folding, spatial working memory, visual working memory, among others, and how different variables affect them. Some of these variables, thoroughly addressed in the book, are sex (gender), visualizations, interactivity, cognitive load, and embodiment. The book concludes with a chapter presenting VAR, a battery of computer-based tests to measure different tasks entailing visuospatial processing. With contributions by top educational psychologists from around the globe, this book will be of interest to a broad array of readers across the disciplines.

Lectures on Perception: An Ecological Perspective addresses the generic principles by which each and every kind of life form—from single celled organisms (e.g., difflugia) to multi-celled organisms (e.g., primates)—perceives the circumstances of their living so that they can behave adaptively. It focuses on the fundamental ability that relates each and every organism to its surroundings, namely, the ability to perceive things in the sense of how to get about among them and what to do, or not to do, with them. The book's core thesis breaks from the conventional interpretation of perception as a form of abduction based on innate hypotheses and acquired knowledge, and from the historical scientific focus on the perceptual abilities of animals, most especially those abilities ascribed to humankind. Specifically, it advances the thesis of perception as a matter of laws and principles at nature's ecological scale, and gives equal theoretical consideration to the perceptual achievements of all of the classically defined ‘kingdoms'of organisms—Archaea, Bacteria, Protoctista, Fungi, Plantae, and Animalia.

Seeing into Screens: Eye Tracking and the Moving Image is the first dedicated anthology that explores vision and perception as it materializes as viewers watch screen content. While nearly all moving image research either'imagines'how its audience responds to the screen, or focuses upon external responses, this collection utilizes the data produced from eye tracking technology to assess seeing and knowing, gazing and perceiving. The editors divide their collection into the following four sections: eye tracking performance, which addresses the ways viewers respond to screen genre, actor and star, auteur, and cinematography; eye tracking aesthetics which explores the way viewers gaze upon colour, light, movement, and space; eye tracking inscription, which examines the way the viewer responds to subtitles, translation, and written information found in the screen world; and eye tracking augmentation which examines the role of simulation, mediation, and technological intervention in the way viewers engage with screen content. At a time when the nature of viewing the screen is extending and diversifying across different platforms and exhibitions, Seeing into Screens is a timely exploration of how viewers watch the screen.

Imagine you are sitting at Starbuck glancing at the blue coffee mug in front of you. The mug is blue on the outside, white on the inside. It's large for a mug. And it's nearly full of freshly made coffee. In the envisaged case, you see all those aspects of the scene in front of you, but it remains a question of ferocious debate whether the visual experience that makes up your seeing is a direct “perceptual” relation between you and your environment or a psychology state that has a content that represents the mug. If your experience involves an external “perceptual” relation to an external, mind-independent object, it is unlike familiar mental states such as belief and desire states, which are widely considered psychological states with a representational content that stands between you and the external world. Your belief that the coffee mug in front of you is blue has a content that represents the coffee mug as being blue. Your desire that the coffee in the mug is still hot has a content that represents a state of affairs that may or may not in fact obtain, namely the state of affairs that the coffee in the mug is still hot. In this book, Brit Brogaard defends the view that visual experience is like belief in having a representational content. Her defense differs from most previous defenses of this view in that it begins by looking at the language of ordinary speech. She provides a linguistic analysis of what we say when we say that things look a certain way or that the world appears to us to be a certain way. She then argues that this analysis can be used to argue for the view that visual experience has a representation content that mediates between you and the world when you visually perceive.

All living creatures inscribe their activity in space. Human beings acquire knowledge of this space by traversing it, listening to verbal descriptions, and looking at maps, atlases, and digital media. We memorize routes, compare distances mentally, and retrieve our starting place after a long journey. Space and Spatial Cognition provides an up-to-date introduction to the elements of human navigation and the mental representation of our environment.This book explores the mental capacities which enable us to create shortcuts, imagine new pathways, and thus demonstrate our adaptation to the environment. Using a multidisciplinary approach which draws on psychology, neuroscience, geography, architecture and the visual arts, the author presents answers to a number of questions. Which mental capacities do people mobilize when confronted with space? Which brain functions do they implement? How do digital technologies extend these capacities? By presenting space at the crossroads of a number of disciplines, this volume reveals how each of them enhances our understanding of human behaviour in space.Space and Spatial Cognition provides a unique insight into all facets of spatial cognition, including spatial behaviour, language, and future technologies. It will be the ideal companion for all students and researchers in the field.

Visual illusions cut across academic divides and popular interests: on the one hand, illusions provide entertainment as curious tricks of the eye; on the other hand, scientific research related to illusory phenomena has given generations of scientists and artists deep insights into the brain and principles of mind and consciousness. Numerous thinkers (including Aristotle, Descartes, Da Vinci, Escher, Goethe, Galileo, Helmholtz, Maxwell, Newton, and Wittgenstein) have been lured by the apparent simplicity of illusions and the promise that illusory phenomena can elucidate the puzzling relationship between the physical world and our perceptual reality. Over the past thirty years, advances in imaging and electrophysiology has dramatically expanded the range of illusions and enabled new forms of analysis, thereby creating new and exciting ways to consider how the brain constructs our perceptual world. The Oxford Compendium of Visual Illusions is a collection of over one hundred chapters about illusions, displayed and discussed by the researchers who invented and conducted research on the illusions. Chapters include full-color images, associated videos, and extensive references. The book is divided into eleven sections: first, a presentation of general history and viewpoints on illusions, followed by sections on geometric, color, motion, space, faces, and cross-category illusions. The book will be of interest to vision scientists, neuroscientists, psychologists, physicists, philosophers, artists, designers, advertisers, and educators curious about applied aspects of visual perception and the brain.

‘How do children see the world?'is a question of immense importance which fascinates not only psychologists but also parents and all those concerned with education. In this English translation, first published in 1976, the author, who was Professor of Psychology at the René Descartes University in Paris, provided the most comprehensive review at the time of the development of visual perception in children, a field to which she herself had made a substantial contribution. Her book, which gave the first comprehensive study of the relationship between cognitive development and perceptual activities in small children, explores how they interpret visual information and gradually build up a picture of the world. The author had devoted fifteen years to research on the visual world of the child and possessed an exhaustive knowledge of the experimental literature on the subject in English, French, Russian and other languages. She saw perception as a form of knowledge which the child exploits and adapts in a variety of ways at different stages of development. This is brilliantly demonstrated in her own research on the strategies children use in judging things as ‘different'or ‘the same'and the way these relate to the structure of their perceptual organisation.This book is essential reading for anyone with a serious interest in developmental and cognitive psychology; it also provides an object lesson in the application of experimental methods. In addition the organisation of the material made it a valuable textbook for advanced undergraduate and post-graduate teaching and will still be of interest in its historical context today.

This book explores a central question in the study of depth perception -'does the visual system rely upon objective knowledge and subjective meaning to specify visual depth?'Linton advances an alternative interpretation to the generally accepted affirmative answer, according to which many of the apparent contributions of knowledge and meaning to depth perception are better understood as contributions to our post-perceptual cognition of depth. In order to defend this position a new account of visual cognition is required, as well as a better understanding of the optical and physiological cues to depth. This book will appeal to students and researchers in psychology, vision science, and philosophy, as well as technologists and content creators working in virtual and augmented reality.

In this book a leading researcher and artist explores how we see pictures and how they can communicate messages to us, both directly and indirectly by making allusions to objects in space or to stored images in our minds. Originally published in 1990, Dr Wade provides fascinating examples of pictures that communicate hidden messages, either by implying something else, or by a shape or portrait which is carried covertly within another design. He analyses image processing stages in vision, demonstrating that the various stages may be related to styles in representational art. He shows how the way we have been taught to look at and recognise objects, affects the way we see them. The book lavishly illustrates with original examples of visual allusions and includes detailed practical advice on how photographers and designers can create them. Essential reading for photographers, designers, artists, people in film and television, and anyone involved in visual science, visual communication and advertising.

Written by one of the pioneers in visual perception, Seeing provides an overview of the basics of sight, from the anatomy of the eye, to optical illusions, to the way neural systems process visual signs. To help readers better appreciate the most-used of our five senses, Tom Cornsweet describes the early physical and physiological processes that occur in human vision in relation to the forces of evolution. He also includes answers to common questions about vision—including those that many of us ask during a visit to an eye doctor—to illustrate how the study of vision can provide a better understanding of one's everyday relationship with sight.

Originally published in 1981, perceptual organization had been synonymous with Gestalt psychology, and Gestalt psychology had fallen into disrepute. In the heyday of Behaviorism, the few cognitive psychologists of the time pursued Gestalt phenomena. But in 1981, Cognitive Psychology was married to Information Processing. (Some would say that it was a marriage of convenience.) After the wedding, Cognitive Psychology had come to look like a theoretically wrinkled Behaviorism; very few of the mainstream topics of Cognitive Psychology made explicit contact with Gestalt phenomena. In the background, Cognition's first love – Gestalt – was pining to regain favor.The cognitive psychologists'desire for a phenomenological and intellectual interaction with Gestalt psychology did not manifest itself in their publications, but it did surface often enough at the Psychonomic Society meeting in 1976 for them to remark upon it in one of their conversations. This book, then, is the product of the editors'curiosity about the status of ideas at the time, first proposed by Gestalt psychologists. For two days in November 1977, they held an exhilarating symposium that was attended by some 20 people, not all of whom are represented in this volume. At the end of our symposium it was agreed that they would try, in contributions to this volume, to convey the speculative and metatheoretical ground of their research in addition to the solid data and carefully wrought theories that are the figure of their research.

The systematic scientific investigation of human perception began over 130 years ago, yet relatively little is known about how we identify complex patterns. A major reason for this is that historically, most perceptual research focused on the more basic processes involved in the detection and discrimination of simple stimuli. This work progressed in a connectionist fashion, attempting to clarify fundamental mechanisms in depth before addressing the more complex problems of pattern recognition and classification. This extensive and impressive research effort built a firm basis from which to speculate about these issues. What seemed lacking, however, was an overall characterization of the recognition problem – a broad theoretical structure to direct future research in this area. Consequently, our primary objective in this volume, originally published in 1981, was not only to review existing contributions to our understanding of classification and recognition, but to project fruitful areas and directions for future research as well. The book covers four areas: complex visual patterns; complex auditory patterns; multi-dimensional perceptual spaces; theoretical pattern recognition.

Originally published in 1987, this book, attempted to bring together work by researchers concerned with the functional and neurological mechanisms underlying visual object processing, and the ways in which such mechanisms can be neurologically impaired. The editors termed it a ‘Cognitive Neuropsychological'approach, because they believed it tried to relate evidence from neurological impairments of visual object processing to models of normal performance in a new and important way. Two broad aims are apparent. One is to test models of normal performance by evaluating how well the models account for the patterns of impairment and preservation of abilities that can occur following brain damage. The other is to use models of normal performance to further their understanding of acquired disorders of visual object processing. These aims distinguish the approach from neuropsychological work whose primary aim is to relate acquired deficits to the sites of damage, and from work in the field of cognitive psychology which attempts only to develop models of normal performance.

Originally published in 1978, this volume reflects the proceedings of a conference held in February 1977 in California and is a natural successor to the earlier volume Eye Movements and Psychological Processes (Monty & Senders, 1976). The second conference was aimed at providing a greater opportunity for discussing the'higher mental processes'touched on in the first volume.Part 1 is devoted to an intensive review of the underlying processes and psychological functions of eye movements. It includes discussions of the relationships of cortical and subcortical visual areas to eye movements and visual processing associated with them; information about the position of the eye in the head and the perception of visual space; saccades and visual functioning; and masking. In further parts it goes on to look at: methodology and models; cognitive processes; reading processes; looking at static and dynamic display; and finally chapters on problems and applications.

Originally published in 1989, this sourcebook for anatomic studies in the neuropsychology of visual perception contains chapters on disorders of visual agnosias, impaired object perception and spatial neglect, and abnormal visual imagery. The neurological basis of visual perception and the disorders that result from brain damage are discussed. At the time the chapters in this volume constituted a state of the art survey in this area and provided data that were essential for the development of models of normal image and object formation.

The term ‘visual perception'covers a very wide range of psychological functions. This title, originally published in 1970, which provides a broad survey of this vast field of knowledge, would have proved a valuable general account for students taking degree courses in psychology at the time. Professor Vernon examines a large number of experiments carried out over the previous twenty years, their findings, the conclusions drawn from them, and – equally important – the still unanswered questions which some of them raised.As the title suggests, Professor Vernon considers that – while much knowledge of the simpler perceptual processes had been gained in laboratory experiments – perhaps too little investigation had been undertaken into the more complex processes which normally determine understanding of and response to environment: the processes of identification and classification that depend to a considerable extent on learning, memory, attention, reasoning and language. An extensive bibliography is provided.

Are art and science separated by an unbridgeable divide? Can they find common ground? In this new book, neuroscientist Eric R. Kandel, whose remarkable scientific career and deep interest in art give him a unique perspective, demonstrates how science can inform the way we experience a work of art and seek to understand its meaning. Kandel illustrates how reductionism—the distillation of larger scientific or aesthetic concepts into smaller, more tractable components—has been used by scientists and artists alike to pursue their respective truths. He draws on his Nobel Prize-winning work revealing the neurobiological underpinnings of learning and memory in sea slugs to shed light on the complex workings of the mental processes of higher animals. In Reductionism in Art and Brain Science, Kandel shows how this radically reductionist approach, applied to the most complex puzzle of our time—the brain—has been employed by modern artists who distill their subjective world into color, form, and light. Kandel demonstrates through bottom-up sensory and top-down cognitive functions how science can explore the complexities of human perception and help us to perceive, appreciate, and understand great works of art. At the heart of the book is an elegant elucidation of the contribution of reductionism to the evolution of modern art and its role in a monumental shift in artistic perspective. Reductionism steered the transition from figurative art to the first explorations of abstract art reflected in the works of Turner, Monet, Kandinsky, Schoenberg, and Mondrian. Kandel explains how, in the postwar era, Pollock, de Kooning, Rothko, Louis, Turrell, and Flavin used a reductionist approach to arrive at their abstract expressionism and how Katz, Warhol, Close, and Sandback built upon the advances of the New York School to reimagine figurative and minimal art. Featuring captivating drawings of the brain alongside full-color reproductions of modern art masterpieces, this book draws out the common concerns of science and art and how they illuminate each other.

This book develops a theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. It is essential reading to those seriously involved in linking the arts and cognitive sciences.

Vision and the Visual System offers students, teachers, and researchers a rigorous, yet accessible account of how the brain analyzes the visual scene. Schiller and Tehovnik describe key aspects of visual perception while explaining the relationship between eye movements and the neural structures in the brain, which play a central role in how we process visual information. The book discusses various brain areas involved in processing information, focusing on the evolutionary origins and mechanics behind the several parallel pathways that compose the visual system. Later chapters explain how the nervous system processes the perception of color, motion, depth, and patterns. A variety of illusions are on display in Chapter 14, where the authors provide detailed explanations that deconstruct how the visual system operates to create them. The volume concludes with a discussion of recent attempts to build visual prosthetic devices for blind individuals, of which there are more than 40 million in the world. Vision and the Visual System is based on Professor Schiller's more than 40 years of experience teaching vision courses at MIT, and is tailored especially for college undergraduates and graduate students interested in visual perception and the operations of the visual system. The Dynamic Displays posted here for this book are short video clips that would enhance the reader to understand certain areas of vision. They are particular to the chapter they belong within (9 video clips for Chapter 11, 1 video clip for Chapter 12, and 2 video clips for Chapter 14). http://web.mit.edu/bcs/schillerlab/book.html

Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting.Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.

Why does the world look to us as it does? Generally speaking, this question has received two types of answers in the cognitive sciences in the past fifty or so years. According to the first, the world looks to us the way it does because we construct it to look as it does. According to the second, the world looks as it does primarily because of how the world is. In The Innocent Eye, Nico Orlandi defends a position that aligns with this second, world-centered tradition, but that also respects some of the insights of constructivism. Orlandi develops an embedded understanding of visual processing according to which, while visual percepts are representational states, the states and structures that precede the production of percepts are not representations. If we study the environmental contingencies in which vision occurs, and we properly distinguish functional states and features of the visual apparatus from representational states and features, we obtain an empirically more plausible, world-centered account. Orlandi shows that this account accords well with models of vision in perceptual psychology -- such as Natural Scene Statistics and Bayesian approaches to perception -- and outlines some of the ways in which it differs from recent'enactive'approaches to vision. The main difference is that, although the embedded account recognizes the importance of movement for perception, it does not appeal to action to uncover the richness of visual stimulation. The upshot is that constructive models of vision ascribe mental representations too liberally, ultimately misunderstanding the notion. Orlandi offers a proposal for what mental representations are that, following insights from Brentano, James and a number of contemporary cognitive scientists, appeals to the notions of de-coupleability and absence to distinguish representations from mere tracking states.

Grâce à ce bestseller mondial, apprenez à dessiner en exploitant votre hémisphère droit!Que vous pensiez n'avoir guère de talent, que vous soyez un artiste professionnel ou que le dessin soit pour vous un simple hobby, ce livre vous fera prendre confiance en vos capacités et approfondira votre perception artistique, de même qu'il vous encouragera à développer une nouvelle appréhension du monde qui vous entoure.Dans cet ouvrage de référence, Betty Edwards vous offre la clé pour maîtriser l'art du dessin en vous faisant découvrir les cinq compétences fondamentales de cet art : la perception des contours, des espaces, des relations, de la lumière et des ombres, et du tout (gestalt).Cette nouvelle édition comprend :- une nouvelle introduction ;- des mises à jour tirées des études récentes sur la plasticité du cerveau et sur l'avantage de l'acquisition de nouvelles compétences en utilisant l'hémisphère droit (visuel et intuitif) du cerveau ;- un nouvel accent sur le rôle de l'apprentissage du dessin grâce aux fonctions du cerveau droit – en réponse au culte grandissant porté à l'hémisphère gauche (analytique et verbal) dans notre société ;- de nouvelles reproductions d'œuvres maîtresses. Passez à la pratique grâce au livre d'exercice Dessiner grâce au cerveau droit, complément indispensable au livre de référence de Betty Edwards.Que vous soyez artistes professionnels ou amateurs, cet ouvrage de référence vous permettra de perfectionner vos compétences artistiques!CE QU'EN PENSE LA CRITIQUE'Le livre Dessiner grâce au cerveau droit vous apprendra à voir les choses autrement. À comprendre les formes. À développer votre esprit d'analyse. À comprendre les espaces, les lignes directrices […]. Devenir attentifs au monde. Voir de la beauté dans des choses simples.'– Dédé dans son Jardin'Pour ceux qui n'auraient pas encore lu le livre Dessiner grâce au cerveau droit, faites l'acquisition de la nouvelle édition de ce livre indispensable qui vous ouvrira grandes les portes du dessin par une méthode intuitive exploitant, comme le titre l'indique, le potentiel de votre cerveau droit. Plus qu'un livre à lire, une expérience à vivre.'– Créa-france'Un ouvrage à recommander sans réserve aux amateurs ou aux professionnels qui souhaitent maîtriser le dessin d'observation et aux professeurs qui veulent disposer d'une méthode logique et efficace pour enseigner la manière de « voir juste ».'– Blog Mon Louvre'Cette brillante approche de l'enseignement du dessin n'est pas qu'un simple manuel : elle est un guide d'émancipation et d'épanouissement personnel.'– Los Angeles Times'Cet ouvrage innovant et emblématique devrait figurer parmi les lectures obligatoires de tous les étudiants en art.'– American ArtistÀ PROPOS DE L'AUTEUR Betty Edwards est enseignante, conférencière et praticienne de la formation en entreprise. Aujourd'hui à la retraite, elle a exercé comme professeure d'art à l'Université d'État de Californie à Long Beach, après avoir obtenu son doctorat en art, éducation et psychologie de la perception à l'UCLA (Université de Californie, Los Angeles).

Originally published in 1981, this third volume deals with the empirical data base and the theories concerning visual perception – the set of mental responses to photic stimulation of the eyes. As the book develops, the plan was to present a general taxonomy of visual processes and phenomena. It was hoped that such a general perspective would help to bring some order to the extensive, but largely unorganized, research literature dealing with our immediate perceptual responses to visual stimuli at the time. The specific goal of this work was to provide a classification system that integrates and systematizes the data base of perceptual psychology into a comprehensive intellectual scheme by means of an eclectic, multi-level metatheory invoking several different kinds of explanation.

Making a Machine That Sees Like Us explains why and how our visual perceptions can provide us with an accurate representation of the external world. Along the way, it tells the story of a machine (a computational model) built by the authors that solves the computationally difficult problem of seeing the way humans do. This accomplishment required a radical paradigm shift - one that challenged preconceptions about visual perception and tested the limits of human behavior-modeling for practical application. The text balances scientific sophistication and compelling storytelling, making it accessible to both technical and general readers. Online demonstrations and references to the authors'previously published papers detail how the machine was developed and what drove the ideas needed to make it work. The authors contextualize their new theory of shape perception by highlighting criticisms and opposing theories, offering readers a fascinating account not only of their revolutionary results, but of the scientific process that guided the way.

A powerful new image presentation technique has evolved over the last twenty years, and its value demonstrated through its support of many and varied common tasks. Conceptually, Rapid Serial Visual Presentation (RSVP) is basically simple, exemplified in the physical world by the rapid riffling of the pages of a book in order to locate a known image. Advances in computation and graphics processing allow RSVP to be applied flexibly and effectively to a huge variety of common tasks such as window shopping, video fast-forward and rewind, TV channel selection and product browsing. At its heart is a remarkable feature of the human visual processing system known as pre-attentive processing, one which supports the recognition of a known image within as little as one hundred milliseconds and without conscious cognitive effort.Knowledge of pre-attentive processing, together with extensive empirical evidence concerning RSVP, has allowed the authors to provide useful guidance to interaction designers wishing to explore the relevance of RSVP to an application, guidance which is supported by a variety of illustrative examples.

The human body has long been a rich source of inspiration for the arts, and artists have long recognized the body's special status. While the scientific study of body perception also has an important history, recent technological advances have triggered an explosion of research on the visual perception of the human body in motion, or as it is traditionally called, biological motion perception. Now reaching a point of burgeoning inter-disciplinary focus, biological motion perception research is poised to transform our understanding of person construal. Indeed, several factors highlight a privileged role for the human body as one of the most critical classes of stimuli affecting social perception. Human bodies in motion, for example, are among the most frequent moving stimulus in our environment. They can be readily perceived at a physical distance or visual vantage that precludes face perception. Moreover, body motion conveys meaningful psychological information such as social categories, emotion state, intentions, and underlying dispositions. Thus, body perception appears to serve as a first-pass filter for a vast array of social judgments from the routine (e.g., perceived friendliness in interactions) to the grave (e.g., perceived threat by law enforcement). This book provides an exciting integration of theory and findings that clarify how the human body is perceived by observers.

How do we appreciate a work of art? Why do we like some artworks but not others? Is there no accounting for taste? Awarded a Guggenheim Fellowship to explore connections between art, mind, and brain, Shimamura considers how we experience art. In a thoughtful and entertaining manner, the book explores how the brain interprets art by engaging our sensations, thoughts, and emotions. It describes interesting findings from psychological and brain sciences as a way to understand our aesthetic response to art. Beauty, disgust, surprise, anger, sadness, horror, and a myriad of other emotions can occur as we experience art. Some artworks may generate such feelings rather quickly, while others depend on thought and knowledge. Our response to art depends largely on what we know--from everyday knowledge about the world, from our cultural backgrounds, and from personal experience. Filled with artworks from many traditions and time points,'Experiencing Art'offers insightful ways of broadening one's approach and appreciation of art.

Vision, more than any other sense, dominates our mental life. Our conscious visual experience of the world is so rich and detailed that we can hardly distinguish it from the real thing. But as Goodale and Milner make clear in their prize-winning book, Sight Unseen, our visual experience of the world is not all there is to vision. Some of the most important things that vision does for us never reach our consciousness at all. In this updated and extended new edition, Goodale and Milner explore one of the most extraordinary neurological cases of recent years--one that profoundly changed scientific views on the visual brain. It is the story of Dee Fletcher--a young woman who became blind to shape and form as a result of brain damage. Dee was left unable to recognize objects or even tell one simple geometric shape from another. As events unfolded, however, Goodale and Milner found that Dee wasn't in fact blind -- she just didn't know that she could see. They showed, for example, that Dee could reach out and grasp objects with amazing dexterity, despite being unable to perceive their shape, size, or orientation. Taking us on a journey into the unconscious brain, the two scientists who made this incredible discovery tell the amazing story of their work, and the surprising conclusion they were forced to reach. Written to be accessible to students and popular science readers, this book is a fascinating illustration of the power of the'unconscious'mind.

This book covers all aspects of the visual system from sensory aspects to eye movements, attention, and visual memory in a brief format. Each chapter describes the psychology, followed by where in the brain that aspect is dealt with, the properties of the cells in that area, and what happens if a patient has a lesion or stroke in that area.

What do we do when we view a work of art? What does it mean to have an'aesthetic'experience? Are such experiences purely in the eye (and brain) of the beholder? Such questions have entertained philosophers for millennia and psychologists for over a century. More recently, with the advent of functional neuroimaging methods, a handful of ambitious brain scientists have begun to explore the neural correlates of such experiences. This book offers an introduction to the way art is perceived, interpreted, and felt and approaches these mindful events from a multidisciplinary perspective.

The Influence of Attention, Learning, and Motivation on Visual Search will bring together distinguished authors who are conducting cutting edge research on the many factors that influence search behavior. These factors will include low-level feature detection; statistical learning; scene perception; neural mechanisms of attention; and applied research in real world settings.

'Seeing'happens effortlessly and yet is endlessly complex. One of the most fascinating aspects of visual perception is its stability and constancy. As we shift our gaze or move about the world, the light projected onto the retinas is constantly changing. Yet the surrounding objects appear stable in their properties. Psychologists have long been interested in constancies, exploring questions such as: How good is constancy? Is constancy a fact about how things look, or is it a product of our beliefs and judgments about how things look? How can the contents of visual experience be studied experimentally? However, philosophers have long been interested in characterizing visual experience and have become widely interested in the constancies more recently. As psychologists and philosophers have interacted, new questions have arisen: should we regard any departure from constancy as a failure of the visual system, or might it be a reasonable or adaptive response? In what circumstances is'seeing'highly conditioned by cognitive factors such as background assumptions, and in what circumstances not? Visual Experience explores size constancy and color constancy. It considers methodologies for studying conscious visual perception, efforts to describe visual experience in relation to constancy, what it means that constancy is not always perfect, and the conceptual resources needed for explaining visual experience. This interdisciplinary book is invaluable for both vision scientists and philosophers of mind.

The Perception of Illusory Contours is a complete and comprehensive volume on one of the most important phenomena in modern perception research. An illusory contour is a demonstration in which people perceive edges, surfaces, objects and colors that have no physical reality. The international group of distinguished researchers which comprise the contributors to the volume present new theoretical interpretations and data in addition to reviewing the extensive literature on this topic. The volume begins with an introduction to the research on and theories behind illusory contours and their applications to other areas of perception, cognitive science and art. The collection also features English language translations of the seminal papers by Schumann, Ehrenstein, and Kanizsa, the scientists who originally discovered and investigated the phenomenon. The Perception of Illusory Contours contains the most comprehensive set of illusory contour figures ever assembled. The volume is a most significant reference work in an area of research at the critical intersection of perception, cognitive science, visual neurophysiology, and artificial intelligence.

This book will provide the reader with a solid overview of the mechanisms and models in the neuroscience of attentional control and selection from leading authorities working in humans and animals, and incorporating a array of neuroscience methods from single neuron recordings to functional brain imaging.

The book starts by analyzing the problem of how we can see so well despite what, to an engineer, might seem like horrendous defects of our eyes. An explanation is provided by a new way of thinking about seeing, the'sensorimotor'approach. In the second part of the book the sensorimotor approach is extended to all sensory experience. It is used to elucidate an outstanding mystery of consciousness, namely why, unlike today's robots, humans actually can feel things. The approach makes predictions and opens research avenues, among them the phenomena of change blindness, sensory substitution, and'looked but failed to see', as well as results on color naming and color perception and the localisation of touch on the body.

The human visual system is particularly attuned to and remarkably efficient at processing social cues. We can effectively'read'others'mental and emotional states and make snap judgments about their characters and dispositions, simply by watching them. Given what is clearly a close relationship between vision and social interaction, it has become increasingly clear to social psychologists seeking to better understand the functional and neuroanatomical mechanisms underlying social perception that vision plays a critical role in the development and maintenance of social exchange. Likewise, vision scientists have come to appreciate the profound impact people, as social agents, have had on the visual system, acknowledging just how important it is to consider the socially adaptive functions that system evolved to perform. This book heralds the new field of social vision, and showcases the cutting edge and broadly interdisciplinary research that is currently at its forefront. Together the perspectives drawn from these various fields offer unique insight into the origin, adaptive purpose, and cognitive, cultural, and biological underpinnings of social vision that will help to shape and guide the way we think about and examine social visual perception.

It should come as no surprise to those interested in sensory processes that its research history is among the longest and richest of the many systematic efforts to understand how our bodies function. The continuing obsession with sensory systems is as much a re?ection of the fundamental need to understand how we experience the physical world as it is to understand how we become who we are based on those very experiences. The senses function as both portal and teacher, and their individual and collective properties have fascinated scientists and philosophers for millennia. In this context, the attention directed toward specifying their properties on a sense-by-sense basis that dominated sensory research in the 20th century seems a prelude to our current preoccupation with how they function in concert. Nevertheless, it was the concentrated effort on the operational principles of in- vidual senses that provided the depth of understanding necessary to inform current efforts to reveal how they act cooperatively. We know that the information provided by any individual sensory modality is not always veridical, but is subject to a myriad of modality-speci?c distortions. Thus, the brain's ability to compare across the senses and to integrate the information they provide is not only a way to examine the accuracy of any individual sensory channel but also a way to enhance the collective information they make available to the brain.

This book presents a comprehensive survey of perceptual expertise in visual object recognition, and introduces a novel collaborative model, codified as the'Perceptual Expertise Network'(PEN). This unique group effort is focused on delineating the domain-general principles of high-level visual learning that can account for how different object categories are processed and come to be associated with spatially localized activity in the primate brain. PEN's approach brings together different traditions and techniques to address questions such as how expertise develops, whether there are different kinds of experts, whether some disorders such as autism or prosopagnosia can be understood as a lack or loss of expertise, and how conceptual and perceptual information interact when experts recognize and categorize objects. The research and results that have been generated by these questions are presented here, along with a variety of other questions, background information, and extant issues that have emerged from recent studies, making this book a complete overview on the topic.

In the late-1980s, visual cognition was a small subfield of cognitive psychology, and the standard texts mainly discussed just iconic memory in their sections on visual cognition. In the subsequent two decades, and especially very recently, many remarkable new aspects of the processing of brief visual stimuli have been discovered -- change blindness, repetition blindness, the attentional blink, newly-discovered properties of visual short-term memory and of the face recognition system, the influence of reentrant processing on visual perception, and the surprisingly intimate relationships between eyeblinks and visual cognition. This volume provides up-to-date tutorial reviews of these many new developments in the study of visual cognition written by the leaders in the discipline, providing an incisive and comprehensive survey of research in this dynamic field.

Proposing a new paradigm for perceptual science that goes beyond standard information theory and digital computation. This book breaks with the conventional model of perception that views vision as a mere inference to an objective reality on the basis of'inverse optics.'The authors offer the alternative view that perception is an expressive and awareness-generating process. Perception creates semantic information in such a way as to enable the observer to deal efficaciously with the chaotic and meaningless structure present at the physical boundary between the body and its surroundings. Vision is intentional by its very nature; visual qualities are essential and real, providing an aesthetic and meaningful interface to the structures of physics and the state of the brain. This view brings perception firmly in line with ethology and modern evolutionary biology and suggests new approaches in all disciplines that study, or require an understanding of, the ontology of mind.The book is the joint effort of a multidisciplinary group of authors. Topics covered include the relationships among stimuli, neuronal processes, and visual awareness. After considering the mind-dependent growing of information, the book treats time and dynamics; color, shape, and space; language and perception; perception, art, and design.