In the visual representation of ontologies, in particular of part-whole relationships, it is customary to use graph theory as the representational background. We claim here that the standard graph-based approach has a number of limitations, and we propose instead a new representation of part-whole structures for ontologies, and describe the results of experiments designed to show the effectiveness of this new proposal especially as concerns reduction of visual complexity. The proposal is developed to serve visualization of ontologies conformant (...) to the Basic Formal Ontology. But it can be used also for more general applications, particularly in the biomedical domain. (shrink)

This article analyses theories of visual representation extracted from various, mostly unpublished, texts from the 15th-century University of Vienna: disputation materials, commentaries on Aristotle’s De anima and John Peckham’s Perspectiva communis, and compendia of natural philosophy. It examines two idiosyncratic claims developed and defended by Vienna masters: the first claim proposes that visual representations are extended and, in some way, ‘shaped’ according to the objects seen, with parts distinctly representing the respective parts of the latter. The second (...) claim is that acts of the external senses are concepts of a sort, signifying the substance of the object seen and connoting its colour, shape, place, and other accidents. Thus, the Vienna masters advocated and expanded the Buridanian idea of the rich content of visual representation: we see not only colours, but objects as modified by diverse visible properties. The article investigates whether any Vienna scholar endorsed both claims, and whether they are compatible in principle. (shrink)

Pictorial representation is one species of visual representation--but not the only one, I argue. There are three additional varieties or species of visual representation--namely 'structural', 'aspect' and 'integrative' representation--which together comprise a category of 'delineative' rather than depictive visual representation. I arrive at this result via consideration of previously neglected orientational factors that serve to distinguish the two categories. I conclude by arguing that pictures (unlike 'delineations') are not physical objects, and that their multiplicity and modal narrowness (...) motivates a view of them as instead being (one kind of) 'delineatively' represented content or subject matter, as represented by those objects that are (commonly but wrongly, in my view) assumed to be pictures. (shrink)

This paper examines visual representation from a distinctive, interdisciplinary perspective that draws on ethics, visual studies and critical race theory. Suggests ways to clarify complex issues of representational ethics in marketing communications and marketing representations, suggesting an analysis that makes identity creation central to societal marketing concerns. Analyzes representations of the exotic Other in disparate marketing campaigns, drawing upon tourist promotions, advertisements, and mundane objects in material culture. Moreover, music is an important force in marketing communication: (...) visual representations in music promotions are also explored as data for inquiry. Offers an alternative to phenomenologically based approaches in marketing and consumer research scholarship that use consumer responses to generate data. Contributes additional insight into societal marketing and places global marketing processes within the intersection of ethics, aesthetics and representation. (shrink)

This article explores how readers recognize their personal identities represented through data visualizations. The recognition is investigated starting from three definitions captured by the philosopher Paul Ricoeur: the identification with the visualization, the recognition of someone in the visualization, and the mutual recognition that happens between readers. Whereas these notions were initially applied to study the role of the book reader, two further concepts complete the shift to data visualization: the digital identity stays for the present-day passport of human actions (...) and the promise is the intimate reflection that projects readers towards their own future. This article reflects on the delicate meaning of digital identity and the way of representing it according to this structure: From Personal Identity to Media is a historical introduction to self-recognition, Data Visualization for Representing Identities moves the focus to visual representation, and The Course of Recognition breaks the self-recognition in through the five concepts above just before the Conclusion. (shrink)

This paper uses structure-mapping to bridge the divide between the analytical and visual culture traditions of image interpretation. Wittgenstein’s analytic ‘picture theory of meaning’ from his early period, and his cultural theory of ‘meaning as use’ from his later period are used to show that the terms similarity, analogy and metaphor can be applied to both image and linguistic interpretation. As a result, by the mapping of similarity and analogy onto the analytic approach, and by the mapping of metaphor (...) onto the visual culture approach, a common linguistic ground for the comparison of these two approaches to image interpretation can be established. (shrink)

In this paper, I characterize visual epistemic representations as concrete two- or three-dimensional tools for conveying information about aspects of their target systems or phenomena of interest. I outline two features of successful visual epistemic representation: that the vehicle of representation contain sufficiently accurate information about the phenomenon of interest for the user’s purpose, and that it convey this information to the user in a manner that makes it readily available to her. I argue that actual epistemic (...) representation may involve tradeoffs between these and is successful to the extent that they are present. (shrink)

The human eyes and brain, which have finite boundaries, create a ‘‘virtual’’ space within our central nervous system that interprets and perceives a space that appears boundless and infinite. Using insights from studies on the visual system, we propose a novel fast processing mechanism involving the eyes, visual pathways, and cortex where external vision is imperceptibly processed in our brain in real time creating an internal representation of external space that appears as an external view. We introduce the (...) existence of a three-dimension default space consisting of intrapersonal body space that serves as the framework where visual and non-visual sensory information is sensed and experienced. We propose that the thalamus integrates processed information from corticothalamic feedback loops and fills-in the neural component of 3D default space with an internal visual representation of external space, leading to the experience of visual consciousness. This visual space inherently evades perception so we have introduced three easy clinical tests that can assist in experiencing this visual space. We also review visual neuroanatomical pathways, binocular vision, neurological disorders, and visual phenomenon to elucidate how the representation of external visible space is recreated within the mind. (shrink)

This paper argues that various phenomenological considerations support a non-representational causal account of visual experience. This position claims that visual experiences serve as a non-representational causally efficacious medium for the production of beliefs concerning the external world. The arguments are centered on defending a non-representational causal account’s understanding of the cognitive significance of visual experience. Among other things, such an account can easily explain the inextricable role that background beliefs and conceptual capacities play in perceptually-based external world (...) belief-formation processes, the fact that visual mental states constrain beliefs because of their presentational phenomenology, and the phenomenon known as the transparency of visual experience. (shrink)

According to the logical positivists, signs (words and pictures) of imaginary beings have no referent (Goodman). The semiotic theory behind this assumption is dualistic and Cartesian: signs vs. nonsigns as well as the mental vs. the material world are in fundamental opposition. Peirce’s semiotics is based on the premise of the sign as a mediator between such opposites: signs do not refer to referents, they represent objects to a mind, but the object of a sign can be existent or nonexistent, (...) a feeling or an idea, something merely imaginary or even something false. The paper examines the nature of imaginary, nonexistent, and nonfigurative objects, such as unicorns, phoenixes, or nonrepresentative paintings, and shows why verbal or visual representations of imaginary beings and even nonfigurative paintings, which seem to represent nothing, are fully developed signs with a variety of objects determining their representation. (shrink)

Neuropsychological findings used to motivate the "two visual systems" hypothesis have been taken to endanger a pair of widely accepted claims about spatial representation in conscious visual experience. The first is the claim that visual experience represents 3-D space around the perceiver using an egocentric frame of reference. The second is the claim that there is a constitutive link between the spatial contents of visual experience and the perceiver's bodily actions. In this paper, I review and (...) assess three main sources of evidence for the two visual systems hypothesis. I argue that the best interpretation of the evidence is in fact consistent with both claims. I conclude with some brief remarks on the relation between visual consciousness and rational agency. (shrink)

An early, very preliminary edition of this book was circulated in 1962 under the title Set-theoretical Structures in Science. There are many reasons for maintaining that such structures play a role in the philosophy of science. Perhaps the best is that they provide the right setting for investigating problems of representation and invariance in any systematic part of science, past or present. Examples are easy to cite. Sophisticated analysis of the nature of representation in perception is to be found already (...) in Plato and Aristotle. One of the great intellectual triumphs of the nineteenth century was the mechanical explanation of such familiar concepts as temperature and pressure by their representation in terms of the motion of particles. A more disturbing change of viewpoint was the realization at the beginning of the twentieth century that the separate invariant properties of space and time must be replaced by the space-time invariants of Einstein's special relativity. Another example, the focus of the longest chapter in this book, is controversy extending over several centuries on the proper representation of probability. The six major positions on this question are critically examined. Topics covered in other chapters include an unusually detailed treatment of theoretical and experimental work on visual space, the two senses of invariance represented by weak and strong reversibility of causal processes, and the representation of hidden variables in quantum mechanics. The final chapter concentrates on different kinds of representations of language, concluding with some empirical results on brain-wave representations of words and sentences. (shrink)

Five experiments investigated the role of spatial connectedness between a pair of objects presented in the change detection task for the actual capacity of visual working memory (VWM) in healthy young adults (total N = 405). Three experiments yielded a surprising nonlinear relationship between the proportion of pair-wise connected objects and capacity, with the highest capacity observed for homogenous displays, when either all objects were connected or disjointed. A drop in capacity, ranging from an average of a quarter of (...) an object out of three objects maintained in VWM, was noted when only some objects were connected while others were disjointed. As indicated by another two experiments, this effect was specific to double-feature encoding, but disappeared when single visual features had to be memorized. No existing theoretical model of VWM can directly explain this novel effect. Overall, the nonlinear effect of spatial connectedness implies that representations in VWM possess hierarchical structure defined by wholes, parts, features, and their relations, and the heterogeneity of such a structure hinders VWM performance, while homogeneity facilitates it. (shrink)

Imagine you’re apple picking and an apple on the branch in front of you catches your eye. Your visual system forms a representation of the apple, including not only its various properties, such as its color, shape, and texture, but also its location. Its location is specified egocentrically: you represent the apple at some distance and direction relative to yourself. This suggests that you are represented in your visual representation. But that seems strange. Intuitively, you visually represent the (...) objects – not the subject – of perception. What’s more, it is not clear what it would mean for you to be represented in your visual representation. Does your visual representation, like the thought ‘An apple is in front of me’, include the concept of self? -/- This case raises two questions about the relation between perception and the self. One asks whether the self is represented in perception. The other concerns how the self is represented in perception. This dissertation addresses both. -/- I answer the first question in the affirmative. I argue that perception involves the use of first-personal contents that are represented in perceptual systems that map complex spatial relations. This suggests that nearly all perceiving creatures self-represent in perception and challenges the traditional view according to which self-representation is confined to language and thought. -/- However, how the self is represented in perception differs from its representation in language and thought. Perception involves the use of egocentric reference frames – frameworks for specifying spatial relations relative to the perceiver – that, I argue, carry first-personal contents. I draw on work in neuroscience and perceptual psychology to offer a representational trajectory that traces how these reference frames, and thus their contents, move from being encoded in the functional architecture of our perceptual systems to explicitly represented. Each step along this path moves closer to conceptual self-representation, suggesting that our capacities for self-representation in language and thought may have their origins in perception. (shrink)

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)

Visual thinking is a systematic way to produce knowledge in design by means of mental imagery, spatial reasoning, and the use of an array of visual representations. Pictorial representations such as sketches are crucial for the activity of designing at the early stage of the creative process. Designers see more information in sketches than was actually drawn. The ability to see more information than is sketched out can be seen as an enhanced visual capacity of (...) human agency. Enhanced agency is the prosthetic incorporation of artifacts to improve the original agentive capacities. The incorporation of artifacts to draw raises some fundamental questions: Is the pencil an extension of the mind? Can we think with our hands? What agentive capacities are increased with the use of the pencil? What is the representational status of sketching? The chapter is structured around these key questions to suggest some answers inspired by the work of Göran Sonesson. Using the notion of enhanced agency and the layered model of agency, I explore the way in which the pencil improves the visual thinking of design. In doing so I found that it is important to maintain the principle of asymmetry in cognitive systems to reconsider relational ontology in favor of ecological relationships. (shrink)

This is a chapter from my introductory book *Perception* covering the representational view of experience. I use the Ramsey-Lewis method to define the theoretical term "experiential representation". I clarify and discuss various questions for representationalists, for instance, "how rich is the content of experience?" and "is the content of visual experience singular or general?" Finally, I address some objections to representationalism - in particular, that it cannot explain perceptual presence (John Campbell), and that it cannot explain the "laws of (...) appearance" (constraints on how things can appear). (shrink)

According to anti-atomism, we represent color properties (e.g., red) in virtue of representing color relations (e.g., redder than). I motivate anti-atomism with a puzzle involving a series of pairwise indistinguishable chips. I then develop two versions of anti-atomism.

Our recent opinion article [1] examined what change blindness can and cannot tell us about visual representations. Among other things, we argued that change blindness can tell us a lot about how visual representations can be used, but little about their extent. We and others found the ‘sparse representations’ view appealing (and still do), and initially made the overly strong claim that change blindness supports the conclusion of sparse representations [2,3]. We wrote our article (...) because change blindness continues to be taken as evidence for sparse – or even absent – representations, and we used O’Regan and Noë’s influential paper [4] as an example. However, as has been noted for some time [5–8], this conclusion is logically flawed: lack of ability need not be caused by lack of representation. (shrink)

Visual experiences often feel crisper, sharper or more vivid when one pays attention to the seen object. According to some representationalist theories of perception, these felt effects occur because attentive experiences represent more determinate or precise properties than their inattentive counterparts: a color experience represents vermillion rather than red if the color is perceived with attention rather than without it. Recently, this idea has been expressed in terms of ranges of feature values represented, so that attentive experiences shall represent (...) narrower ranges than inattentive experiences. However, the latter claim seems to run counter to evidence, recently discussed by Block (2015), that neither spatial attention nor attention as deployed in the attentional blink paradigm alters the ranges of properties represented in visual perception. In this chapter, I clarify what these findings in fact tell us about the representational contents of visual perception and argue that they do not refute the representational account of the attentional effects. (shrink)

I criticise a recent variety of argument for the representational theory of experience, which holds that the very idea of perceptual experience entails the representational view. I argue that the representational view is not simply obvious, nor is it contained in the mere idea of the world looking some way. I also clarify and re-present an argument against the representational view due to Charles Travis.

At the intersection of aesthetics and the philosophy of perception lies a problem about representational images. When you look at Vermeer's View of Delft, do you in fact get to see Delft? It would be nice if we could answer in the affirmative, as it would so neatly explain many of our practices in engaging with images. Be it in churches, advertising, or psychology labs, we typically use images as substitutes for the immediate perception of things. Here is what I (...) claim: Images make it possible to see the objects they represent, and they do so because they can function in vision as perceptual mediators. A perceptual mediator is an object of perception by means of which we can perceive something wholly distinct from it. I show that, while such perceptual mediators may be exceptional in vision, in other sensory modalities they occur universally. Our sensory lives would be impoverished without the possibility of perceiving things mediately. In Chapter 1 I identify a fundamental dispute about images. The dispute is about whether images represent by making absent scenes appear to a viewer, or by merely copying the way an object or event looks. Many philosophers favour the idea that images merely copy how things look. In Chapter 2 I explain my dissatisfaction with the copy view. I lay out my main positive proposal in Chapter 3. How does the idea that images make absent objects visible fit with our current concept of perception? I formulate my answer through a study of the other sensory modalities. In audition, it is no mystery that sounds can make other things heard. My arguments forge a connection between images and sounds that has not been explored in recent work on representation or perception. I show how it offers an attractive solution to our problem. In Chapter 4, I argue that moreover, we may regard mediate perception as a purely sensory mode of perception. There is no need to rely on non-sensory or quasi-sensory effects of thought or cognition. Instead, coming to see a painted surface as an image consists in no more than discovering a previously unseen aspect of our visible surroundings. In Chapter 5 I consider at a more general level how visual images contribute to visual perception. Overall, I establish how visual representation has a structural place in our visual world. (shrink)

Classic change blindness is the phenomenon where seemingly obvious changes which coincide with visual disruptions (such as blinks or brief blanks) go unnoticed by an attentive observer. Some early work into the causes of classic change blindness suggested that any pre-change stimulus representation is overwritten by a representation of the altered post-change stimulus, preventing change detection. However, recent work revealed that even when observers do maintain memory representations of both the pre- and post-change stimulus states, they can still (...) miss the change, suggesting that change blindness can also arise from a failure to compare the stored representations. Here we study slow change blindness, a different but related phenomenon that occurs even in the absence of visual disruptions when the change occurs sufficiently slowly, to determine whether it could be explained by conclusions from classic change blindness. Across three different slow change blindness experiments we found that observers, who consistently failed to notice the change, had access to at least two memory representations of the changing display. One representation was precise but short-lived: a relatively detailed representation of the more recent states of slow-change display, but fragile. The other representation lasted longer but was fairly general: stable but too coarse to differentiate the various stages of the changing display. These findings suggest that although multiple representations are formed, the failure to compare hypothesis might not explain slow change blindness; even if a comparison were made, the representations formed would be either too sparse (longer term stores) or too fragile (short-lived stores) for such a comparison to be informative about a change. (shrink)

Advances in neuroscience implicate reentrant signaling as the predominant form of communication between brain areas. This principle was used in a series of masking experiments that defy explanation by feed-forward theories. The masking occurs when a brief display of target plus mask is continued with the mask alone. Two masking processes were found: an early process affected by physical factors such as adapting luminance and a later process affected by attentional factors such as set size. This later process is called (...) masking by object substitution, because it occurs whenever there is a mismatch between the reentrant visual representation and the ongoing lower level activity. Iterative reentrant processing was formalized in a computational model that provides an excellent fit to the data. The model provides a more comprehensive account of all forms of visual masking than do the long-held feed-forward views based on inhibitory contour interactions. (shrink)

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

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

I argue that there are no plausible non-representational explanations of episodes of hallucination. To make the discussion more specific, I focus on visual hallucinations in Charles Bonnet syndrome. I claim that the character of such hallucinatory experiences cannot be explained away non-representationally, for they cannot be taken as simple failures of cognizing or as failures of contact with external reality—such failures being the only genuinely non-representational explanations of hallucinations and cognitive errors in general. I briefly introduce a recent computational (...) model of hallucination, which relies on generative models in the brain, and argue that the model is a prime example of a representational explanation referring to representational mechanisms. The notion of the representational mechanism is elucidated, and it is argued that hallucinations—and other kinds of representations—cannot be exorcised from the cognitive sciences. (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)

When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator (...) functions in the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)

According to the sensorimotor account, vision does not imply theconstruction of internally generated representations of the environment, butit isthe skillful exercise of the sensorimotor contingencies obeying sense-specific laws. In this short study, I focus on the notion of “sensorimotor law” and characterize the kind of explanation providedby the sensorimotor theory as a form of covering law model. I then question the nature of such sensorimotor laws and describe them as mechanisms. I show that a mechanistic interpretation provides a better (...) account of the sensorimotor invariances, which fosters us to rebalance the explanatory burden of sensorimotor action and information. Finally, I show that the question of the roleof representations within the sensorimotor theory should be reconsidered. (shrink)

This article argues that the Representation is drawn by the perceiver: that it does not arrive at the visual cortex fully-formed. Rather, colour arrives at the visual cortex and the Representation is drawn from that.

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)

Without doubt, there is a widespread usage of visualisations in science. However, what exactly the _epistemic status_ of these visual representations in science may be remains an open question. In the following, I will argue that at least some scientific visualisations are indispensible for our cognitive processes. My thesis will be that, with regard to the activity of _learning_, visual representations are of relevance in the sense of contributing to the aim of _scientific_ _understanding_. Taking into (...) account that understanding can be regarded as an epistemic desideratum in its own right, I will argue that, at least in some instances, no understanding can be achieved without the aid of visualisations. Consequently, they are of crucial importance in this process. Moreover, to support this thesis we will make use of some findings in educational psychology. (shrink)

Richard Wollheim claimed that twofoldness is a necessary condition for the perception of pictorial representations and it is also a necessary condition for the aesthetic appreciation of pictures. Jerrold Levinson pointed out that these two questions are different and argued that though twofoldness may be a necessary condition for the aesthetic appreciation of pictures, it cannot be a necessary condition for the perception of pictorial representations. I argue that Wollheim's use of the term ‘twofoldness’ alternates between two concepts: (...) the simultaneous visual awareness of the surface and of the represented object on the one hand and the simultaneous visual awareness of the represented object and the way it is represented on the other. Finally, I argue that twofoldness in the first sense is a necessary condition for the perception of pictorial representations, whereas twofoldness in the second sense is a necessary condition for the aesthetic appreciation of pictures. (shrink)

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

Quilty-Dunn et al.'s wide-ranging defense of the Language of Thought Hypothesis (LoTH) argues that vision traffics in abstract, structured representational formats. We agree: Vision, like language, is compositional – just as words compose into phrases, many visual representations contain discrete constituents that combine in systematic ways. Here, we amass evidence extending this proposal, and explore its implications for how vision interfaces with the rest of the mind.

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

Introduction There are some exceptions, which we shall see below, but virtually all theories in psychology and cognitive science make use of the notion of representation. Arguably, folk psychology also traffics in representations, or is at least strongly suggestive of their existence. There are many different types of things discussed in the psychological and philosophical literature that are candidates for representation-hood. First, there are the propositional attitudes – beliefs, judgments, desires, hopes etc. (see Chapters 9 and 17 of this (...) volume). If the propositional attitudes are representations, they are person-level representations – the judgment that the sun is bright pertains to John, not a subpersonal part of John. By contrast, the representations of edges in V1 of the cerebral cortex that neuroscientists talk about and David Marr’s symbolic representations of “zero-crossings” in early vision (Marr 1982) are at the “sub-personal” level – they apply to parts or states of a person (e.g. neural parts or computational states of the visual system). Another important distinction is often made among perceptual, cognitive, and action-oriented representations (e.g. motor commands). Another contrast lies between “stored representations” (e.g. memories) and “active representations” (e.g. a current perceptual state). Related to this is the distinction between “dispositional representations” and “occurrent representations.” Beliefs that are not currently being entertained are dispositional, e.g. your belief that the United States is in North America - no doubt you had this belief two minutes ago, but you were not consciously accessing it until you read this sentence. Occurrent representations, by contrast, are active, conscious thoughts or perceptions. Which leads us to another important distinction: 1 between conscious and non-conscious mental representations, once a bizarre-sounding distinction that has become familiar since Freud (see Chapter 4 of this volume). I mention these distinctions at the outset to give you some idea of the range of phenomena we will be considering, and to set the stage for our central “problem of representation”: what is a mental representation, exactly, and how do we go about deciding whether there are any? We know there are public representations of various kinds: words, maps, and pictures, among others.. (shrink)

Orthodox epistemological disjunctivism involves the idea that paradigm cases of visual perceptual knowledge are based on visual perceptual states which are propositional, and hence representational. Given this, the orthodox version of epistemological disjunctivism takes on controversial representational commitments in the philosophy of perception. Must epistemological disjunctivism involve these commitments? I don’t think so. Here I argue that we can take epistemological disjunctivism in a new direction and develop a version of the view free of these representational commitments. The (...) basic idea is that instead of conceiving of knowledge grounding perceptions as states in which one sees that such-and-such is the case, we should instead conceive of them as states or episodes in which one sees a thing, we should conceive of them as thing-seeings. I’ll suggest that we can cast such seeings in a knowledge grounding role without conceiving of them as representational. But this is because we can put thing-seeings to epistemological work, in the framework of epistemological disjunctivism, whilst remaining neutral on whether or not they are propositional, or representational at all. The point, then, is not to replace epistemological disjunctivism’s controversial representational commitments with controversial non-representational commitments. The point is, rather, that epistemological disjunctivism can be developed with fewer commitments in the philosophy of perception than is usually appreciated. (shrink)

Experiences of afterimages have often been cited as counterexamples to representationalism about vision, that is, as counterexamples to the thesis that the phenomenal character of a visual experience is completely determined by its representational content. In this paper, I discuss a possible counterexample to representationalism that is based on the phenomenological observation made, for example, by Ned Block, that at least some afterimages do not look real. After first clarifying what a possible counterexample based on this observation would have (...) to look like, I formulate and defend a representationalist response. (shrink)

Is action-guiding vision cognitively penetrable? More specifically, is the visual processing that guides our goal-directed actions sensitive to semantic information from cognitive states? This paper critically examines a recent family of arguments whose aim is to challenge a widespread and influential view in philosophy and cognitive science: the view that action-guiding vision is cognitively impenetrable. I argue, in response, that while there may very well be top–down causal influences on action-guiding vision, they should not be taken to be an (...) instance of cognitive penetration. Assuming otherwise is to assign a computational role to the influencing states that they cannot perform. Although questions about cognitive penetrability are ultimately empirical, the issues addressed in this paper are largely philosophical. The discussion here highlights an important set of considerations that help better understand the relations between cognition, vision, and action. (shrink)

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based (...) on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources. -/- . (shrink)

While the process of influence between various cultural and historical traditions in philosophy has been taking place for thousands of years, this inter-cultural interaction is occurring at a more accelerated pace in the information age. While philosophers throughout history have used visual representations to understand philosophical influence and historical origins and the distribution of philosophical ideas and sub-disciplines, this paper stresses the importance of philosophical visualizations to represent the global interactivity of philosophy. It provides various visualizations to represent (...) global philosophical interaction, the penetration of Western philosophical ideas into non-Western philosophical traditions, and the appropriation of non-Western traditions by Western philosophers. Such visualizations are important in the contemporary age to promote regional philosophies, to understand philosophical influence and to understand the promotion of a kind of pluralism which remains engaged with the global world. (shrink)

Abstract: Research on the nature and varieties of the format of cognitive representations in philosophy and cognitive science have been partly shaped by analogies to external, public representations. In this paper, we argue that relying on such analogies contributes to framing the question of cognitive formats in problematic, potentially counterproductive ways. We show that cognitive and public representations differ in many of their central features, making analogies to public representations ill-suited to improving our understanding of cognitive (...) formats. We illustrate these points by examining two case studies in which analogies to public representations may have had a negative impact on research: the 80’s-90’s debate about compositionality and cognitive architecture between symbolicists and connectionists; and contemporary discussions about the nature of visual demonstratives. Finally, we outline an alternative, computational account of formats that does not share the shortcomings of appeal to public representations. (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)

In this position paper, we describe a number of methodological and philosophical challenges that arose within our interdisciplinary Digital Humanities project CatVis, which is a collaboration between applied geometric algorithms and visualization researchers, data scientists working at OCLC, and philosophers who have a strong interest in the methodological foundations of visualization research. The challenges we describe concern aspects of one single epistemic need: that of methodologically securing (an increase in) trust in visualizations. We discuss the lack of ground truths in (...) the (digital) humanities and argue that trust in visualizations requires that we evaluate visualizations on the basis of ground truths that humanities scholars themselves create. We further argue that trust in visualizations requires that a visualization provides provable guarantees on the faithfulness of the visual representation and that we must clearly communicate to the users which part of the visualization can be trusted and how much. Finally, we discuss transparency and accessibility in visualization research and provide measures for securing transparency and accessibility. (shrink)

In this paper, I argue that the indirect realists’ recourse to mental representations does not allow them to account for the possibility of hallucination, nor for the presentational character of visual experience. To account for the presentational character, I suggest a kind of intentionalism that is based on the interdependency between the perceived object and the embodied perceiver. This approach provides a positive account to the effect that genuine perception and hallucination are different kinds of states. Finally, I (...) offer a tentative suggestion as to how a hallucinatory experience may still be mistaken for a genuine perceptual experience. (shrink)

I begin with a concept of representation based on the causal flow of the inherent information contained in physical objects and argue that it is apropos for both physical objects and phenomenal character. The implications of this are explored in the context of awareness viewed as a mental representation of the world, in which “bottom-up”, non-conceptual representation interacts with “top-down”, intentional states (in the sense of being about things, properties and states of affairs) to produce a hierarchical representation from which (...) both, and their mixed states, are simultaneously accessible, and which is actively maintained by Bayesian control theory principles. The function of this representation is seen as a necessary part of the nervous system’s role as the controlling element of goal-directed behavior. This view is then examined in the context of current neurobiological investigations of sensory and perceptual processes. I suggest that this approach, although not fundamentally at odds with many concepts in philosophy, may offer a more coherent way to view mind-dependent aspects of perception than many traditional philosophical positions, which do not align easily with the concepts of empirical neurobiology. In this view many of the seemingly opposed positions in the philosophy of perception may be recast simply as descriptions of differing levels of organization or operation of the hierarchical representation. Additionally, I suggest that a consideration of the causal nature of information flow requires that there can be no final representation prior to awareness in the act-object sense, and that awareness is itself a representation, and in fact the final representation, under the same definition of representation applied to all other mind-independent and mind-dependent objects in the causal chain. That is, the actively-maintained hierarchical model is both the medium of phenomenal experience and its content. I argue that all of these positions are independent of your choice as to whether our phenomenal awareness is best thought of as being, or as being a mental correlate of, neural activity. (shrink)