Perception is basic for human knowledge and a major concern of both epistemology and the philosophy of mind. The scholarship in this area, however, has left two important aspects of perception underexplored: its relevance to understanding a priori knowledge-traditionally conceived as independent of perception-and its role in human action. This book provides a full-scale account of perception, a theory of the a priori, and an account of how perception guides action. In exploring perception and action, it clarifies the relation between action and practical reasoning, the notion of rational action, and the relation between knowledge of the practical (of how things are done) and practical knowledge (knowing how to do things). In the first part of the book, Robert Audi lays out a theory of perception as experiential, representational, and causally connected with its objects. He argues that perception is a discriminative response to its objects; it embodies phenomenally distinctive elements; and it yields rich information that underlies human knowledge. Part Two presents a theory of self-evidence and the a priori. Audi's theory is perceptualist in that it explicates the apprehension of a priori truths by articulating its parallels to perception. The theory also unifies empirical and a priori knowledge by clarifying their reliable causal connections with their objects-connections many have thought impossible for a priori knowledge. The final part explores how perception guides action, the role of propositional knowledge in our abilities to do what we know how to do, the nature of reasons for action, the role of inference in determining it, and the overall conditions for its rationality. Addressing longstanding questions left unaddressed in the current literature, Audi's comprehensive theory of perception will appeal to scholars and students interested in philosophy of perception, mind, and epistemology.

The issue of the senses and sensual perception in Michel Foucault s thought has been a source of prolific discussion already for quite some time. Often, Foucault has been accused of overemphasizing the centrality of sight, and has been portrayed as yet another thinker representative of Western ocularcentricism. This innovative new work seeks to challenge this portrait by presenting an alternative view of Foucault as a thinker for whom the sound, voice, hearing, and listening, the auditory-sonorous, actually did matter.

Illustrating how the auditory-sonorous relates most integrally to the most pertinent issues of Foucault - the intertwinement and confrontations of power, knowledge, and resistance - the book both presents novel readings of some of Foucault s most widely read and commented-on works (such as Discipline and Punish, the first volume of History of Sexuality), and discusses the variety of his lectures, essays, and interviews, some of which have not been noted before.

Moving beyond a commentary on Foucault, Siisiainen goes on to examine other philosophers and political thinkers (including Roland Barthes, Jean-Luc Nancy and Jacques Ranci re) in this context in order to bring to the fore the potentials in Foucault s work for the generation of a new perspective for the political genealogy of the sound, hearing, and listening, approaching the former as a key locus of contemporary political struggles.

This work will be of great interest to students and scholars in a range of areas including political theory, philosophy, and cultural studies.

- Draws together two distinct fields of research, Visual Perception and Memory, to provide new insights into how visual memory works. - Considers the latest research based on findings from neuroimaging and computational modeling techniques to provide the most up to date visual memory book in over a decade. - Uniquely appealing to readers from both perception and memory backgrounds, as well as those from related fields including human-computer interaction, data visualization, cognitive science, and cognitive enhancement.

In all modern societies almost everyone of their citizens have spent many years in school buildings, and the largest professional group in modern societies, teachers, is working every day during the working year in school buildings. In spite of this, we know surprisingly little about the influence of school buildings on the people who use them and their activities. What do school buildings do with their users and what do users do with the buildings? In this book seven scholars from the Scandinavian countries discuss and use different theoretical perspectives to illuminate the relationship between school buildings and their users.

Measurements with persons are those in which human perception and interpretation are used for measuring complex, holistic quantities and qualities, which are perceived by the human brain and mind. Providing means for reproducible measurement of parameters such as pleasure and pain has important implications in evaluating all kind of products, services, and conditions.

This book inaugurates a new era for this subject: a multi- and inter-disciplinary volume in which world-renowned scientists from the psychological, physical, biological, and social sciences reach a common understanding of measurement theory and methods.

In the first section, generic theoretical and methodological issues are treated, including the conceptual basis of measurement in the various fields involved; the development of formal, representational, and probabilistic theories; the approach to experimentation; and the theories, models, and methods for multidimensional problems. In the second section, several implementation areas are presented, including sound, visual, skin, and odor perception, functional brain imagining, body language and emotions, and, finally, the use of measurements in decision making

Measurement with Persons will appeal to a wide audience across a range of sciences, including general psychology and psychophysics, measurement theory, metrology and instrumentation, neurophysiology, engineering, biology, and chemistry.

'By the deepest thinker about this topic since Darwin' Daniel Gilbert, author of the bestseller Stumbling on Happiness

'Fascinating . . . a thought-provoking journey into emotion science' The Wall Street Journal

'This meticulous, well-researched, and deeply thought out book provides information about our emotions - what they are, where they come from, why we have them. For anyone who has struggled to reconcile brain and heart, this book will be a treasure; it explains the science without short-changing the humanism of its topic' Andrew Solomon, bestselling author of Far From the Tree and The Noonday Demon

When you feel anxious, angry, happy, or surprised, what's really going on inside of you?

Many scientists believe that emotions come from a specific part of the brain, triggered by the world around us. The thrill of seeing an old friend, the fear of losing someone we love - each of these sensations seems to arise automatically and uncontrollably from within us, finding expression on our faces and in our behaviour, carrying us away with the experience.

This understanding of emotion has been around since Plato. But what if it is wrong? In How Emotions Are Made, pioneering psychologist and neuroscientist Lisa Feldman Barrett draws on the latest scientific evidence to reveal that our common-sense ideas about emotions are dramatically, even dangerously, out of date - and that we have been paying the price. Emotions aren't universally pre-programmed in our brains and bodies; rather they are psychological experiences that each of us constructs based on our unique personal history, physiology and environment.

This new view of emotions has serious implications: when judges issue lesser sentences for crimes of passion, when police officers fire at threatening suspects, or when doctors choose between one diagnosis and another, they're all, in some way, relying on the ancient assumption that emotions are hardwired into our brains and bodies. Revising that conception of emotion isn't just good science, Barrett shows; it's vital to our well-being and the health of society itself.

This volume, a posterbook based on the seventh biennial Conference of the International Society for Ecological Psychology, is a collection of compact empirical and/or theoretical articles on the study of perception and action.

This book - written in collaboration with Rene Doursat, director of the Complex Systems Institute, Paris - adds a new dimension to Cognitive Grammars. It provides a rigorous, operational mathematical foundation, which draws from topology, geometry and dynamical systems to model iconic "image-schemas" and "conceptual archetypes". It defends the thesis that Rene Thom's morphodynamics is especially well suited to the task and allows to transform the morphological structures of perception into Gestalt-like, abstract, proto-linguistic schemas that can act as inputs into higher-level specific linguistic routines. Cognitive Grammars have drawn upon the view that the deep syntactic and semantic structures of language, such as prepositions and case roles, are grounded in perception and action. This study raises difficult problems, which thus far have not been addressed as a mathematical challenge. Cognitive Morphodynamics shows how this gap can be filled.

When most people think of space, they think of physical space. However, visual space concerns space as consciously experienced, and it is studied through subjective measures, such as asking people to use numbers to estimate perceived distances, areas, angles, or volumes. This book explores the mismatch between perception and physical reality, and describes the many factors that influence the perception of space including the meaning assigned to geometric concepts like distance, the judgment methods used to report the experience, the presence or absence of cues to depth, and the orientation of a stimulus with respect to point of view. The main theme of the text is that no single geometry describes visual space, but that the geometry of visual space depends upon the stimulus conditions and mental shifts in the subjective meaning of size and distance.
In addition, "The Geometries of Visual Space: "
*contains philosophical, mathematical, and psychophysical background material;
*looks at synthetic approaches to space perception including work on hyperbolic, spherical, and Euclidean geometries;
*presents a meta-analysis of studies that ask observers to directly estimate size, distance, area, angle, and volume;
*looks at the size constancy literature in which observers are asked to adjust a comparison stimulus to match a variety of standards at different distances away;
*discusses research that takes a multi-dimensional approach toward studying visual space; and
*discusses how spatial experience is influenced by memory.
While this book is primarily intended for scholars in perception, mathematical psychology, and psychophysics, it will also be accessible to awider audience since it is written at a readable level. It will make a good graduate-level textbook on space perception.

Originally published in 1974, this volume presents seven detailed views of human information processing at the time. While no single volume can do justice to the breadth of the area, it was hoped that the present selections reflected both the content and methodological approaches currently used by experimental psychologists concerned with the issues and problems of human information processing. The organization of the book is simple, proceeding from the human performance end of the continuum, an overview of which is given in the first chapter. Successive chapters are progressively more concerned with human cognition, and the last chapter gives an overview of human cognition. The intervening chapters are devoted to more specific topics and yield a detailed portrait of the models, findings, and methodology of human information processing.

Originally published in 1983, this volume represents the edited proceedings of the first conference organized by the European Group for Eye Movement Research with the theme "Eye Movements: Current Research and Methodology". The conference was held at the Department of Psychology, University of Bern, Switzerland in 1981. The book is divided into four parts covering: Methods; Central and Peripheral Processing; Picture Viewing and Visual Tracking; and Cognitive Processes and Reading. Each part is introduced by one of the session chairpersons of the conference.

Originally published in 1976, this introduction to hearing was intended to provide a sufficient introduction to each of several subareas of hearing so that the serious student can read the more advanced treatments with greater appreciation and understanding. It was intended for upper graduate and graduate students. It assumes some mathematical sophistication - calculus for example, but there is some review of more basic concepts, such as logarithms. There is also a brief treatment of the necessary material from the different disciplines - physics, physiology, psychology, anatomy and mathematics - that a student of hearing will need to know.

This volume takes a contemporary and novel look at how people see the world around them. We generally believe we see our surroundings and everything in them with complete accuracy. However, as the contributions to this volume argue, this assumption is wrong: people s view of their world is cloudy at best.

Social Psychology of Visual Perception is a thorough examination of the nature and determinants of visual perception, which integrates work on social psychology and vision. It is the first broad-based volume to integrate specific sub-areas into the study of vision, including goals and wishes, sex and gender, emotions, culture, race, and age.

The volume tackles a range of engaging issues, such as what is happening in the brain when people look at attractive faces, or if the way our eyes move around influences how happy we are and could help us reduce stress. It reveals that sexual desire, our own sexual orientation, and our race affect what types of people capture our attention. It explores whether our brains and eyes work differently when we are scared or disgusted, or when we grow up in Asia rather than North America.

The multiple perspectives in the book will appeal to researchers and students in range of disciplines, including social psychology, cognition, evolutionary psychology, and neuroscience.

- Provides an accessible introduction to the field of music cognition. - Written by a leading researcher in the interdisciplinary field that gives us fundamental insights in the cognitive mechanisms underlying musicality - Will appeal to those taking courses on the Psychology of Music or Auditory Perception, from the fields of Psychology and Music

In The Gestural Origin of Language, Wilcox and Armstrong use evidence from and about sign languages to explore the origins of language as we know it today. According to their model, it is sign, not spoken languages, that is the original mode of human communication. The authors demonstrate that modern language is derived from practical actions and gestures that were increasingly recognised as having the potential to represent and hence to communicate. In other words, the fundamental ability that allows us to use language is our ability to use pictures of icons, rather than linguistic symbols. Evidence from the human fossil record supports the authors' claim by showing that we were anatomically able to produce gestures and signs before we were able to speak fluently. Although speech evolved later as a secondary linguistic communication device that eventually replaced sign language as the primary mode of communication, speech has never entirely replaced signs and gestures.

This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance. Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities. The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.

Recently there has been growing awareness and acceptance of the proposition that people do not exist in a world of physically defined forces and events, but in a world defined by their own perceptions, cognitions, conclusions, and imaginations. We respond and react not to some objectively defined set of stimuli, but to our own apperceptions of stimuli that we define subjectively. The original essays in this volume center on one aspect of this process of attribution: The extent to which the perception of events and causes results in the determination, modification, or alteration of emotions, feelings, and affective states.

This book is divided into five sections, each of which elucidates and extends these theoretical conceptions. Part 1 provides a historical background and analytical framework for the rest of the book. Part 2 presents chapters dealing with the sorts of internal cues which may give rise to a feeling state. Part 3 presents a chapter discussing the evaluative needs aroused by the internal cues. Part 4 is concerned with the process of explanation triggered by the evaluative needs. Part 5 deals with various external cues and how they are used to label the internal feeling state. There is a concluding discussion of the cognitive alteration of feeling states.

The authors deal with aggression, boredom, obesity, the control of pain, and delusional systems. This volume is of continuing importance to clinical and experimental psychologists as well as social psychologists. Each of the authors takes the theoretical concept of cognition and relates it to research in biofeedback, physiology, social psychology, altered states of consciousness, etc. Thus, the book bridges the gap between cognitive theory and the use of that theory in applied research.

This book is a collection of Leea (TM)s most important works, placed in a historical setting and contextualized through the commentaries of other leading researchers in the field. The contributors were selected on the basis of their standing in the field. Some have been directly involved in collaborations with Lee, while others have participated in public discussions on particular controversies. All contributors know David Lee well as a researcher and scholar, and some know him on a more personal levela "as a student, supervisor, mentor, or friend. It is this mixture of involvements with David Lee and his writings that yields a unique exchange of ideas on the origins of movement. Closing the Gap: The Scientific Writings of David N. Lee is an invaluable resource for academics and postgraduate students studying perceptuo-motor control.

Beliefs and expectancies influence our everyday thoughts, feelings, and actions. These attributes make a closer examination of beliefs and expectancies worthwhile in any context, but particularly so within the high-stakes arena of the legal system. Whether the decision maker is a police officer assessing the truthfulness of an alibi, a juror evaluating the accuracy of an eyewitness identification, an attorney arguing a case involving a juvenile offender, or a judge deciding whether to terminate parental rights-these decisions matter and without doubt are influenced by beliefs and expectancies. This volume is comprised of research on beliefs and expectancies regarding alibis, children's behaviour while testifying, eyewitness testimony, confessions, sexual assault victims, judges' decisions in child protection cases, and attorneys' beliefs about jurors' perceptions of juvenile offender culpability. Areas for future research are identified, and readers are encouraged to discover new ways that beliefs and expectancies operate in the legal system. This book was originally published as a special issue of Psychology, Crime & Law.

Applied Spatial Cognition illustrates the vital link between research and application in spatial cognition. With an impressive vista ranging from applied research to applications of cognitive technology, this volume presents the work of individuals from a wide range of disciplines and research areas, including psychologists, geographers, information scientists, computer scientists, cognitive scientists, engineers, and architects. Chapters throughout the book are a testimony to the importance of basic and applied research regarding human spatial cognition and behavior in the many facets of daily life. The contents are arranged into three sections, the first of which deals with a variety of spatial problems in real-world settings. The second section focuses on spatial cognition in specific populations. The final part is concerned principally with applications of spatial cognitive research and the development of cognitive technology. Relevant to a number of remarkably diverse groups, Applied Spatial Cognition will be of considerable interest to researchers and professionals in industrial/organizational psychology, human factors research, and cognitive science.

When most people think of space, they think of physical space. However, visual space concerns space as consciously experienced, and it is studied through subjective measures, such as asking people to use numbers to estimate perceived distances, areas, angles, or volumes. This book explores the mismatch between perception and physical reality, and describes the many factors that influence the perception of space including the meaning assigned to geometric concepts like distance, the judgment methods used to report the experience, the presence or absence of cues to depth, and the orientation of a stimulus with respect to point of view. The main theme of the text is that no single geometry describes visual space, but that the geometry of visual space depends upon the stimulus conditions and mental shifts in the subjective meaning of size and distance.
In addition, "The Geometries of Visual Space: "
*contains philosophical, mathematical, and psychophysical background material;
*looks at synthetic approaches to space perception including work on hyperbolic, spherical, and Euclidean geometries;
*presents a meta-analysis of studies that ask observers to directly estimate size, distance, area, angle, and volume;
*looks at the size constancy literature in which observers are asked to adjust a comparison stimulus to match a variety of standards at different distances away;
*discusses research that takes a multi-dimensional approach toward studying visual space; and
*discusses how spatial experience is influenced by memory.
While this book is primarily intended for scholars in perception, mathematical psychology, and psychophysics, it will also be accessible to awider audience since it is written at a readable level. It will make a good graduate-level textbook on space perception.

Variations in speech melody (intonation) can be used to express different meanings (e.g. question vs. statement, friendliness). Yet, intonational information is hardly used in presentday linguistic models. When intonational information is used, it is mostly based on introspection rather than on empirical investigation; almost exclusively, a one-to-one relation between accent types and semantic function is assumed. This book focuses on an empirical investigation of thematic contrast in German. Thematic contrast has received considerable attention in semantics because sentences with contrastive themes can be used to imply propositions of various kinds without saying them explicitly. In this book, first an acoustic comparison between sentences produced in contrastive and non-contrastive contexts is described. Intonational realisation is quantified in terms of the height and position of tonal targets. The perceptual reality of different productions and the relevance of different accoustic cues are tested by means of rating experiments. Finally, the data are prosodically annotated by a group of linguists to explore the validity and explanatory power of different accent categories for contrastive and non-contrastive themes in German.

This book combines insights from the humanities and modern neuroscience to explore the contribution of affect and embodiment on meaning-making in case studies from animation, video games, and virtual worlds. As we interact more and more with animated characters and avatars in everyday media consumption, it has become vital to investigate the ways that animated environments influence our perception of the liberal humanist subject. This book is the first to apply recent research on the application of the embodied mind thesis to our understanding of embodied engagement with nonhumans and cyborgs in animated media, analyzing works by Emile Cohl, Hayao Miyazaki, Tim Burton, Norman McLaren, the Quay Brothers, Pixar, and many others. Drawing on the breakthroughs of modern brain science to argue that animated media broadens the viewer's perceptual reach, this title offers a welcome contribution to the growing literature at the intersection of cognitive studies and film studies, with a perspective on animation that is new and original. 'Affect and Embodied Meaning in Animation' will be essential reading for researchers of Animation Studies, Film and Media Theory, Posthumanism, Video Games, and Digital Culture, and will provide a key insight into animation for both undergraduate and graduate students. Because of the increasing importance of visual effect cinema and video games, the book will also be of keen interest within Film Studies and Media Studies, as well as to general readers interested in scholarship in animated media.

Why do we enjoy art? What inspires us to create artistic works? How can brain science help us understand our taste in art? The Psychology of Art provides an eclectic introduction to the myriad ways in which psychology can help us understand and appreciate creative activities. Exploring how we perceive everything from colour to motion, the book examines art-making as a form of human behaviour that stretches back throughout history as a constant source of inspiration, conflict and conversation. It also considers how factors such as fakery, reproduction technology and sexism influence our judgements about art. By asking what psychological science has to do with artistic appreciation, The Psychology of Art introduces the reader to new ways of thinking about how we create and consume art.

Since 1991, the edited book series Studies in Perception and Action has appeared in conjunction with the biennial International Conference of Perception and Action (ICPA), a conference that provides an opportunity for individuals who share interests in ecological psychology to come together to present current research, exchange ideas, and engage in conversation on theoretical and methodological concerns. The Studies in Perception and Action series is a way to preserve the dialogues between conference attendees and researchers displaying their latest work. This volume, the eighth in the series, presents the conversations held at the 13th ICPA meeting in the summer of 2005.
 
"Studies in Perception and Action VIII "includes broad coverage of the most current advances in research on perceiving and acting, including contributions from researchers in Australia, China, Japan, Europe, and North America. It addresses cutting-edge research in dynamics and human movement, recent progress in ecological approaches to perceiving and acting, and substantially extends our knowledge of just how rich a source of information the world is across a wide range of modalities.
 
This volume will appeal to individuals who follow the research literature in ecological psychology, as well as those interested in perception, perceptual development, human movement dynamics, and social processes.