Since the publication of the first edition in 1966, Eye and Brain has established itself worldwide as an essential introduction to the basic phenomena of visual perception. Richard Gregory offers clear explanations of how we see brightness, movement, color, and objects, and he explores the phenomena of visual illusions to establish principles about how perception normally works and why it sometimes fails. Illusion continues to be a major theme in the book, which provides a comprehensive classification system. There are also sections on what babies see and how they learn to see, on motion perception, the relationship between vision and consciousness, and on the impact of new brain imaging techniques.

Originally published in 1982, this book introduces the student to the central problem of all perceptual theories: just how does the perceiver identify particular objects? In focusing on the problem, Dr Wilding provides a coherent, well organized framework for its study, bypassing the conventional split between perception and reaction time evidence which was common to most textbooks at the time. The author draws on evidence from a wider number of research traditions and argues that each has a contribution to make to any account of perception. Throughout he emphasizes the methodological basis of the research discussed, in order to provide students with a solid foundation for their own practical work.

Using a concise question and answer format, The Perception of Time: Your Questions Answered examines basic temporal processes and the ways in which our perception of time can be altered. Divided into three parts, the book provides a contemporary overview of the study of the temporal mind. It begins by introducing the fundamental processes of time perception; how it can be measured, how it can be hindered, and to what extent it can be enhanced. It proceeds to explain how cognitive and psychological disorders, such as schizophrenia, ADHD, and anxiety can be linked to temporal dysfunction, and answers common questions that face us all: why does time seem to go faster as we age? How do our emotions affect our perception of time? How does our relationship with time differ from others? Providing comprehensive answers to the most pertinent questions of time perception, this book is an ideal companion for advanced students and researchers interested in the psychology of time.

In Perception: First Form of Mind, Tyler Burge develops an understanding of the most primitive type of mental representational: perception. Focusing on the functions and capacities of perceptual states, Burge accounts for their representational content and structure, and develops a formal semantics for them. The discussion explains the role of iconic format in the structure. It also situates the accounts of content, structure, and semantics within scientific explanations of perceptual-state formation, emphasizing formation of perceptual categorization. In the book's second half, Burge discusses what a perceptual system is. Exploration of relations between perception and other primitive capacities-conation, attention, memory, anticipation, affect, learning, and imagining-helps distinguish perceiving, with its associated capacities, from thinking, with its associated capacities. Drawing mainly on vision science, not introspection, Perception: First Form of Mind is a rigorous, agenda-setting work in philosophy of perception and philosophy of science.

Imagery, Language and Visuo-Spatial Thinking discusses the remarkable human ability to use mental imagery in everyday life: from helping plan actions and routes to aiding creative thinking; from making sense of and remembering our immediate environment to generating pictures in our minds from verbal descriptions of scenes or people. The book also considers the important theme of how individuals differ in their ability to use imagery. With contributions from leading researchers in the field, this book will be of interest to advanced undergraduates, postgraduates and researchers in cognitive psychology, cognitive science and cognitive neuropsychology.

This anthology translates eighteen papers by Italian philosopher and experimental psychologist Paolo Bozzi (1930-2003), bringing his distinctive and influential ideas to an English-speaking audience for the first time. The papers cover a range of methodological and experimental questions concerning the phenomenology of perception and their theoretical implications, with each one followed by commentary from leading international experts. In his laboratory work, Bozzi investigated visual and auditory perception, such as our responses to pendular motion and bodies in freefall, afterimages, transparency effects, and grouping effects in dot lattices and among sounds (musical notes). Reflecting on the results of his enquiries against the background of traditional approaches to experimentation in these fields, Bozzi took a unique realist stance that challenges accepted approaches to perception, arguing that experimental phenomenology is neither a science of the perceptual process nor a science of the appearances; it is a science of how things are. The writings collected here offer an important resource for psychologists of perception and philosophers, as well as for researchers in cognitive science.

This Element examines visual perception in the context of activities that involve moving about in complex, dynamic environments. A central theme is that the ability of humans and other animals to perceive their surroundings based on vision is profoundly shaped by the need to adaptively regulate locomotion to variations in the environment. As such, important new insights into what and how we perceive can be gleaned by investigating the connection between vision and the control of locomotion. I present an integrated summary of decades of research on the perception of self-motion and object motion based on optic flow, the perception of spatial layout and affordances, and the control strategies for guiding locomotion based on visual information. I also explore important theoretical issues and debates, including the question of whether visual control relies on internal models.

Does the world appear the same to everyone? Does what we know determine what we see? Why do we see the world as we do? Vision is our most dominant sense. From the light that enters our eyes to the complex cognitive processes that follow, we derive most of our information about what things are, where they are, and how they move from our vision. Visual Perception takes a refreshingly different approach to this enigmatic sense. From the function that vision serves for an active observer, to the history of visual perception itself the third edition has been extensively revised, updated and expanded, while still preserving the essential features of historical context, neurophysiology and independent thought that made the earlier editions so engaging. Covering the perception of location, motion, object recognition and with up-to-date information on the workings of the visual brain, the 3rd edition looks at how our ideas have been shaped, not just by psychology, but by art, optics, biology and philosophy. The emphasis on understanding vision as a basis for action in the real world has also been expanded to cover seeing representations of all sorts, whether they are pictures or computer-generated displays. The 3rd Edition of Visual Perception is a readable, accessible and truly relevant introduction to the world of perception and will be welcomed by students of visual perception as well as anyone with a general interest in the mysteries and wonder of vision.

In their third book together, Adam B. Seligman and Robert P. Weller address a seemingly simple question: What counts as the same? Given the myriad differences that divide one individual from another, why do we recognize anyone as somehow sharing a common fate with us? For that matter, how do we live in harmony with groups who may not share the sense of a common fate? Such relationships lie at the heart of the problems of pluralism that increasingly face so much of the world today. Note that "counting as" the same differs from "being" the same. Counting as the same is not an empirical question about how much or how little one person shares with another or one event shares with a previous event. Nothing is actually the same. That is why, as humans, we construct sameness all the time. In the process, of course, we also construct difference. Creating sameness and difference leaves us with the perennial problem of how to live with difference instead of seeing it as a threat. How Things Count as the Same suggests that there are multiple ways in which we can count things as the same, and that each of them fosters different kinds of group dynamics and different sets of benefits and risks for the creation of plural societies. While there might be many ways to understand how people construct sameness, three stand out as especially important and form the focus of the book's analysis: Memory, Mimesis, and Metaphor.

Maurice Merleau-Ponty is increasingly hailed as one of the key philosophers of the Twentieth century. Phenomenology of Perception is his most famous and influential work and an essential text for anyone seeking to understand phenomenology. In this guidebook Komarine Romdenh-Romluc introduces and assesses Merleau-Ponty's life and the background to his philosophy, the key themes and arguments of Phenomenology of Perception, and the continuing importance of Merleau-Ponty's work to philosophy. Merleau-Ponty and Phenomenology of Perception is an ideal starting point for anyone coming to Merleau-Ponty for the first time and reading his magnum opus. It is essential reading for students of Merleau-Ponty, phenomenology and related subjects such as art and cultural studies.

The new edition of this comprehensive text continues to provide a detailed and up-to-date account of research on visual perception, while maintaining the emphasis of earlier editions on the functional context of vision. Reflecting recent theoretical developments, the book is organised around the distinction between two broad functions of vision, to provide awareness and to control action.
In Part I, the account of visual processing in the brain has been extensively updated, and evidence from neuroimaging and neuropsychology has been integrated into a critical account of the 'two pathways' theory of visual cortex. The revision of chapters in Part II has given particular attention to recent advances in integrating psychophysical, physiological and computational approaches to problems such as the perception of surfaces and of motion. With the help of new illustrations, full introductions are provided to the key mathematical concepts used in these areas. In Part III, three new chapters draw on evidence from both animal and human behaviour to cover optic flow and locomotion, the timing of actions, and perception of the social world. The concluding chapter considers critically the wider theoretical implications of the distinction between awareness and action as separate functions of vision.
Visual Perception, Fourth Edition will be an invaluable resource for both undergraduate and postgraduate students of psychology, biology, physiology and neuroscience, as well as researchers in the fields of visual neuroscience, visual perception and animal behaviour.

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This state-of-the-art handbook provides an authoritative overview of the field of perception, with special emphasis on new developments and trends.
Surveys the entire field of perception, including vision, hearing, taste, olfaction, and cutaneous sensibility.
Ideal for researchers and teachers looking for succinct, state-of-the-art overviews of areas outside their speciality, and for anyone wanting to know about current research and future trends.
Uses a tutorial approach that results in a balanced description of topics.
A 'Selected Readings' section points to general references that provide more detailed treatments of each topic; 'Additional Topics' provide references to important topics.
Written by noted authorities in the field.
Now available in full text online via xreferplus, the award-winning reference library on the web from xrefer. For more information, visit www.xreferplus.com

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.

Why Science Needs Art explores the complex relationship between these seemingly polarised fields. Reflecting on a time when art and science were considered inseparable and symbiotic pursuits, the book discusses how they have historically informed and influenced each other, before considering how public perception of the relationship between these disciplines has fundamentally changed. Science and art have something very important in common: they both seek to reduce something infinitely complex to something simpler. Using examples from diverse areas including microscopy, brain injury, classical art, and data visualization, the book delves into the history of the intersection of these two disciplines, before considering current tensions between the fields. The emerging field of neuroaesthetics and its attempts to scientifically understand what humans find beautiful is also explored, suggesting ways in which the relationship between art and science may return to a more co-operative state in the future. Why Science Needs Art provides an essential insight into the relationship between art and science in an appealing and relevant way. Featuring colorful examples throughout, the book will be of interest to students and researchers of neuroaesthetics and visual perception, as well as all those wanting to discover more about the complex and exciting intersection of art and science.

Why Science Needs Art explores the complex relationship between these seemingly polarised fields. Reflecting on a time when art and science were considered inseparable and symbiotic pursuits, the book discusses how they have historically informed and influenced each other, before considering how public perception of the relationship between these disciplines has fundamentally changed. Science and art have something very important in common: they both seek to reduce something infinitely complex to something simpler. Using examples from diverse areas including microscopy, brain injury, classical art, and data visualization, the book delves into the history of the intersection of these two disciplines, before considering current tensions between the fields. The emerging field of neuroaesthetics and its attempts to scientifically understand what humans find beautiful is also explored, suggesting ways in which the relationship between art and science may return to a more co-operative state in the future. Why Science Needs Art provides an essential insight into the relationship between art and science in an appealing and relevant way. Featuring colorful examples throughout, the book will be of interest to students and researchers of neuroaesthetics and visual perception, as well as all those wanting to discover more about the complex and exciting intersection of art and science.

Body and space refer to vital and interrelated dimensions in the experience of sounds and music. Sounds have an overwhelming impact on feelings of bodily presence and inform us about the space we experience. Even in situations where visual information is artificial or blurred, such as in virtual environments or certain genres of film and computer games, sounds may shape our perceptions and lead to surprising new experiences. This book discusses recent developments in a range of interdisciplinary fields, taking into account the rapidly changing ways of experiencing sounds and music, the consequences for how we engage with sonic events in daily life and the technological advancements that offer insights into state-of-the-art methods and future perspectives. Topics range from the pleasures of being locked into the beat of the music, perception-action coupling and bodily resonance, and affordances of musical instruments, to neural processing and cross-modal experiences of space and pitch. Applications of these findings are discussed for movement sonification, room acoustics, networked performance, and for the spatial coordination of movements in dance, computer gaming and interactive artistic installations.

We remember in social contexts. We reminisce about the past together, collaborate to remember shared experiences, and, even when we are alone, we remember in the context of our communities and cultures. Taking an interdisciplinary approach throughout, this text comprehensively covers collaborative remembering across the fields of developmental psychology, cognitive psychology, social psychology, discourse processing, philosophy, neuropsychology, design, and media studies. It highlights points of overlap and contrast across the many disciplinary perspectives and, with its sections on 'Approaches of Collaborative Remembering' and 'Applications of Collaborative Remembering', also connects basic and applied research. Written with late-stage undergraduates and early-stage graduates in mind, the book is also a valuable tool for memory specialists and academics in the fields of psychology, cognitive science and philosophy who are interested in collaborative memory research.

The No. 1 Sunday Times and internationally bestselling account of life as a child with autism, now a documentary film Winner of Best Documentary and Best Sound in the British Independent Film Awards 2021. 'It will stretch your vision of what it is to be human' Andrew Solomon, The Times What is it like to have autism? How can we know what a person - especially a child - with autism is thinking and feeling? This groundbreaking book, written by Naoki Higashida when he was only thirteen, provides some answers. Severely autistic and non-verbal, Naoki learnt to communicate by using a 'cardboard keyboard' - and what he has to say gives a rare insight into an autistically-wired mind. He explains behaviour he's aware can be baffling such as why he likes to jump and why some people with autism dislike being touched; he describes how he perceives and navigates the world, sharing his thoughts and feelings about time, life, beauty and nature; and he offers an unforgettable short story. Proving that people with autism do not lack imagination, humour or empathy, THE REASON I JUMP made a major impact on its publication in English. Widely praised, it was an immediate No. 1 Sunday Times bestseller as well as a New York Times bestseller and has since been published in over thirty languages. In 2020, a documentary film based on the book received its world premiere at the Sundance Film Festival. Directed by Jerry Rothwell, produced by Jeremy Dear, Stevie Lee and Al Morrow, and funded by Vulcan Productions and the British Film Institute, it won the festival's Audience Award for World Cinema Documentary, then further awards at the Vancouver, Denver and Valladolid International Film Festivals before its global release in 2021. The book includes eleven original illustrations inspired by Naoki's words, by the artistic duo Kai and Sunny.

How can computers recognize faces? Why are caricatures of famous faces so easily recognized? Originally published in 1995, much of the previous research on face recognition had been phenomena driven. Recent empirical work together with the application of computational, mathematical and statistical techniques have provided new ways of conceptualizing the information available in faces. These advances have led researchers to suggest that many phenomena can be explained by the structure of the information available in the population(s) of faces. This broad approach has drawn together a number of apparently disparate phenomena with a common theoretical basis, including cross-race recognition; the distinctiveness of faces; the production and recognition of caricatures; and the determinants of facial attractiveness. This title provides a state of the art review of the field at the time in which the authors use a wide variety of approaches. What is common to all is that the authors base the accounts of the phenomena they study or their model of face recognition on the statistics of the information available in the population of faces. On publication this title was a comprehensive, up-to-date review of an important area of research in face recognition written by active researchers. It includes contributions from mathematics, computer science and neural network theory as well as psychology. It is aimed at research workers and postgraduate students and will be of interest to cognitive psychologists and computer scientists interested in face recognition. It will also be of interest to those working on neural network models of visual recognition, perceptual development, expertise in visual cognition as well as facial attractiveness and caricature.

Heroes, villains, victims, and minions are more important than ever before in our politics and culture. In the era of television, Twitter, and Facebook, groups and individuals constantly battle over their reputations. One of the best ways to gain power is to persuade others that you are competent, courageous, and benevolent, while your opponents are none of these. Thus, character work consists of more than simple claims of fact; societies build their solidarity and policies out of admiration for heroes but also outrage over villains. Recent political analysis has ignored the great characters of the past in favor of frames, heuristics, codes, and identities. In Public Characters, James M. Jasper, Michael P. Young, and Elke Zuern argue that character, reputation, and images matter in politics, and social life more generally, as they help mobilize people and their passions. First, they focus on the political construction of openly constructed and debated public characters to show how we can allocate praise and blame, identify social problems, cement identities and allegiances, develop policies, and articulate our moral intuitions through them. The authors demonstrate the nuances of characters and their interactions across a range of sources-including Shakespeare, Game of Thrones, Renaissance sculpture, modern comic books, Alexander the Great, and Bernie Madoff-all the while showing how public characters are used in political rhetoric. Finally, they complicate these characters by considering their transformations: when victims manage to become heroes and the way traditional moral characters have evolved over time to correspond with what different cultures admire, detest, or pity. This rich, detailed, and wide-ranging analysis of personal images and reputation marks a timely and crucial contribution for sociologists and political scientists concerned with the cultural dimensions of political life.

Mark Eli Kalderon presents an original study in the philosophy of perception written in the medium of historiography. He considers the phenomenology and metaphysics of sensory presentation through the examination of an ancient aporia. Specifically, he argues that a puzzle about perception at a distance is behind Empedocles' theory of vision. Empedocles conceives of perception as a mode of material assimilation, but this raises a puzzle about color vision, since color vision seems to present colors that inhere in distant objects. But if the colors inhere in distant objects how can they be taken in by the organ of sight and so be palpable to sense? Aristotle purports to resolve this puzzle in his definition of perception as the assimilation of sensible form without the matter of the perceived particular. Aristotle explicitly criticizes Empedocles, though he is keen to retain the idea that perception is a mode of assimilation, if not a material mode. Aristotle's notorious definition has long puzzled commentators. Kalderon shows how, read in light of Empedoclean puzzlement about the sensory presentation of remote objects, Aristotle's definition of perception can be better understood. Moreover, when so read, the resulting conception of perception is both attractive and defensible.

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.""

One of the hardest problems in the history of Western philosophy has been to explain whether and how experience can provide knowledge (or even justification for belief) about the objective world outside the experiencer's mind. A prominent brand of scepticism has precisely denied that experience can provide such knowledge. How, for instance (these sceptics ask) can I know that my experiences are not produced in me by a powerful demon (or, in a modern twist on that traditional Cartesian scenario, by a supercomputer)? This volume, originating from the research project on Basic Knowledge recently concluded at the Northern Institute of Philosophy, presents new essays on scepticism about the senses written by some of the most prominent contemporary epistemologists. They approach the sceptical challenge by discussing such topics as the conditions for perceptual justification, the existence of a non-evidential kind of warrant and the extent of one's evidence, the epistemology of inference, the relations between justification, probability and certainty, the relevance of subjective appearances to the epistemology of perception, the role that broadly pragmatic considerations play in epistemic justification, the contents of perception, and the function of attention. In all these cases, the papers show how philosophical progress on foundational issues can improve our understanding of and possibly afford a solution to a historically prominent problem like scepticism.

A vital resource on speech and language processing in bilingual adults and children The Listening Bilingual brings together in one volume the various components of spoken language processing in bilingual adults, infants and children. The book includes a review of speech perception and word recognition; syntactic, semantic, and pragmatic aspects of speech processing; the perception and comprehension of bilingual mixed speech (code-switches, borrowings and interferences); and the assessment of bilingual speech perception and comprehension in adults and children in the clinical context. The two main authors as well as selected guest authors, Mark Antoniou, Theres Gruter, Robert J. Hartsuiker, Elizabeth D. Pena and Lisa M. Bedore, and Lu-Feng Shi, introduce the various approaches used in the study of spoken language perception and comprehension in bilingual individuals. The authors focus on experimentation that involves both well-established tasks and newer tasks, as well as techniques used in brain imaging. This important resource: Is the first of its kind to concentrate specifically on spoken language processing in bilingual adults and children. Offers a unique text that covers both fundamental and applied research in bilinguals. Covers a range of topics including speech perception, spoken word recognition, higher level processing, code-switching, and assessment. Presents information on the assessment of bilingual children's language development Written for advanced undergraduate students in linguistics, cognitive science, psychology, and speech/language pathology as well as researchers, The Listening Bilingual offers a state-of-the-art review of the recent developments and approaches in speech and language processing in bilingual people of all ages.

The epistemology and the phenomenology of perception are closely related insofar as both depend on experiences of self-evident objectivity-experiences in which the objectivity of a state of affairs is evident from within our experience of that state of affairs. Jennifer Church offers a distinctive account of perception, showing how imagining alternative perspectives and alternative possibilities plays a key role in creating and validating experiences of self-evident objectivity. Offered first as an account of what it takes to perceive ordinary objects such as birds and trees, the account is then extended to show how it is also possible to perceive such things as causes, reasons, mental states, distant galaxies, molecular arrangements, mathematical relations, and interpersonal obligations. A chapter is devoted to the phenomenology and epistemology of moral perception, including the perception of persons as such; and a chapter is devoted to the peculiarities of aesthetic perception, including the perception of artworks as such. In all of these cases, Church argues, perception can be literal (not merely figurative or metaphorical) and substantive (not merely formal or deflationary). Her account helps to explain the advantages of perceptual versus non-perceptual knowledge. It also helps to make sense of some historical discussions of the role of the imagination in acquiring and validating knowledge, in relation to Plato's cave, Descartes' explanation of rational intuition, and Kant's arguments concerning objectivity, causality, and the Categorical Imperative.