Psychology of the Image outlines a theoretical framework bringing together the semiotic concepts developed by Charles Peirce, the sociological insights of Ervin Goffman and the psychoanalytic ideas of Jacques Lacan. Image studies in fashion, advertising, photography, film studies and psychology have been influenced by these theorists in significant ways. The framework presented helps the reader understand how these ideas relate to the study of different domains of the image: the internal imagery of dreams, external images such as the photograph and image processes which span both contexts, e.g., images we have about ourselves. The topics discussed are organised into three themes. The first considers mental imagery, including sound and dreams. The second addresses the interdependent nature of internal and external images, e.g., the gendered self and social identity. In the third theme, attention turns to external images including television, film, photography, the computer and the internet. Psychology of the Image will be of interest to undergraduates, postgraduates, lecturers and researchers in the fields of psychology, media studies and sociology.

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Within the last three decades, interest in the psychological experience of human faces has drawn together cognitive science researchers from diverse backgrounds. Computer scientists talk to neural scientists who draw on the work of mathematicians who explicitly influence those conducting behavioral experiments.
The chapters in this volume illustrate the breadth of the research on facial perception and memory, with the emphasis being on mathematical and computational approaches. In pulling together these chapters, the editors sought to do much more than illustrate breadth. They endeavored as well to illustrate the synergies and tensions that inevitably result from adopting a broad view, one consistent with the emerging discipline of cognitive science.

How the human visual system determines the lightness of a surface, that is, its whiteness, blackness, or grayness, remains--like vision in general--a mystery. In fact, we have not even been able to create a machine that can determine, through an artificial vision system, whether an object is white, black, or gray. Although the photoreceptors in the eye are driven by light, the light reflected by a surface does not reveal its shade of gray. Depending upon the level of illumination, a surface of any shade of gray can reflect any amount of light.
In Seeing Black and White Alan Gilchrist ties together over 30 years of his own research on lightness, and presents the first comprehensive, historical review of empirical work on lightness, covering the past 150 years of research on images ranging from the simple to the complex. He also describes and analyzes the many theories of lightness--including his own--showing what each can and cannot explain. Gilchrist highlights the forgotten-yet-exciting work done in the first third of the twentieth century, describing several crucial experiments and examining the brilliant but nearly unknown work of the Hungarian gestalt theorist, Lajos Kardos.
Gilchrists review also includes a survey of the pattern of lightness errors made by humans, many of which result in delightful illusions. He argues that because these errors are not random, but systematic, they are the signature of our visual software, and so provide a powerful tool that can reveal how lightness is computed. Based on this argument and the concepts of anchoring, grouping, and frames of reference, Gilchrist presents a new theoretical framework that explains an unprecedented array oflightness errors. As both the first comprehensive overview of research on lightness and the first unified presentation of Gilchrists new theoretical framework Seeing Black and White will be an invaluable resource for vision scientists, cognitive psychologists, and cognitive neuroscientists.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

In this book the authors relate and discuss the idea that perceptual processes can be considered at many levels. A phenomenon that appears at one level may not be the same as a superficially similar phenomenon that appears at a different level. For example "induced motion" can be analyzed in terms of eye movements or at the retinal level or at a much higher cognitive level: how do these analyses fit together? The concept of levels also makes us think of the flow of information between levels, which leads to a consideration of the roles of top-down and bottom-up (or feed-forward, feed-back) flow. There are sections devoted to vestibular processing, eye movement processing and processing during brightness perception. The final section covers levels of processing in spatial vision. All scientists and graduate students working in vision will be interested in this book as well as people involved in using visual processes in computer animations, display design or the sensory systems of machines.

Orienting is the gateway to attention, the first step in processing stimulus information. This volume examines these initial stages of information intake, focusing on the sensory and motivational mechanisms that determine such phenomena as stimulus selection and inhibition, habituation, pre-attentive processing, and expectancy. Psychophysiological methods are emphasized throughout. The contributors consider analyses based on cardiovascular and electrodermal changes, reflex reactions, and neural events in the cortex and subcortex.
Stimulated by a conference lauding Frances Graham -- held before and during a recent meeting of the Society for Psychophysiological Research, the book presents current theory and research by an international cadre of outstanding investigators. A major researcher and theorist in the field of attention for more than three decades, Dr. Graham contributes an Afterword to the present volume which is both a consideration of the work which has gone before, and a new, original theory paper on preattentive processing and attention.

This unique textbook explores core cognitive psychology topics from an innovative new perspective, focusing on key real-world issues to show how we understand and experience the world. The book examines compelling topics such as creativity, problem-solving, reasoning, rationality and language, all within the context of modern 21st century life. Each chapter demonstrates how this vibrant and constantly evolving discipline is at the heart of some of the biggest issues facing us all today. The last chapter discusses the future of cognitive psychology, which includes guidance on conducting rigorous, replicable research and how to use skills from cognitive psychology to be an effective student. Packed with pedagogical features, each chapter includes boxed examples of cognitive psychology in the real world and engaging ‘try it yourself’ features. Each chapter also includes objectives, a range of illustrative figures, chapter summaries, key readings and a glossary for ease of use. The book is fully supported by original online resources for students and instructors. Offering a new model for the study of cognitive psychology that brings the subject alive, the book is essential reading for all students studying psychology and related disciplines.

Examining the current state of the research in perception stressing contributions in visual information processing, this volume provides an original and timely account of recent results obtained in this and other related areas of cognitive psychology. The scope of the book is intended to be broad, featuring state-of-the-art contributions from a number of outstanding researchers from different parts of the world -- the United States, Europe, and Australia. The intention is to update areas of considerable theoretical implications and active experimental investigation in this broad field called the "psychology of perception." This volume's main purpose is to highlight, from a cognitive position, a selected number of important theoretical and empirical topics which deal with critical issues in perception and other high level, related cognitive processes such as attention, mental representation, memory, word naming and semantic categorization.
The studies reported were designed to answer many far-reaching questions including:
* Is the global precedence effect due to low or high level processing?
* Can veridical and illusory perception be explained by the same theory?
* What is the relationship between attention and perception?
* Is perception "direct" or an inferential process?
* What mechanisms are involved in picture and word naming and categorization?
* How can word and picture processing be modeled?
The answers to these questions seek to unite theoretical perspectives on very important areas of cognitive psychology such as attention, perception, representation of visual objects and words, and human memory.

The major aim of this book is to introduce the ways in which scientists approach and think about a phenomenon -- hearing -- that intersects three quite different disciplines: the physics of sound sources and the propagation of sound through air and other materials, the anatomy and physiology of the transformation of the physical sound into neural activity in the brain, and the psychology of the perception we call hearing. Physics, biology, and psychology each play a role in understanding how and what we hear.
The text evolved over the past decade in an attempt to convey something about scientific thinking, as evidenced in the domain of sounds and their perception, to students whose primary focus is not science. It does so using a minimum of mathematics (high school functions such as linear, logarithmic, sine, and power) without compromising scientific integrity. A significant enrichment is the availability of a compact disc (CD) containing over 20 examples of acoustic demonstrations referred to in the book. These demonstrations, which range from echo effects and filtered noise to categorical speech perception and total more than 45 minutes, are invaluable resources for making the text come alive.

First Published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1985. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1984. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1983. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 1983. Routledge is an imprint of Taylor & Francis, an informa company.

Vision and the Visual System offers students, teachers, and researchers a rigorous, yet accessible account of how the brain analyzes the visual scene. Schiller and Tehovnik describe key aspects of visual perception while explaining the relationship between eye movements and the neural structures in the brain, which play a central role in how we process visual information. The book discusses various brain areas involved in processing information, focusing on the evolutionary origins and mechanics behind the several parallel pathways that compose the visual system. Later chapters explain how the nervous system processes the perception of color, motion, depth, and patterns. A variety of illusions are on display in Chapter 14, where the authors provide detailed explanations that deconstruct how the visual system operates to create them. The volume concludes with a discussion of recent attempts to build visual prosthetic devices for blind individuals, of which there are more than 40 million in the world. Vision and the Visual System is based on Professor Schiller's more than 40 years of experience teaching vision courses at MIT, and is tailored especially for college undergraduates and graduate students interested in visual perception and the operations of the visual system.

Hysteria, trauma and melancholia are not only powerful tropes in contemporary culture, they are also prominent in the theatre. As the first study in its field, "Hysteria, Trauma and Melancholia" explores the characteristics and concerns of the Drama of Hysteria, Trauma and Melancholia through in-depth readings of representative plays.

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.

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.

This collection asks new questions about the household, examining the kinds of positive and negative emotional scope available to household members drawn together by shared economic, social and biological needs rather than by blood ties. Through a range of case studies across Western Europe, the collection considers varied methodological approaches and sources to explore emotional realms between household members, and grapples with the challenges of historicizing both the household and emotions.

Perceiving in Depth is a sequel to Binocular Vision and Stereopsis and to Seeing in Depth, both by Ian P. Howard and Brian J. Rogers. This three-volume work is much broader in scope than previous texts and includes mechanisms of depth perception by all senses, including aural, electrosensory organs, and the somatosensory system. The work contains three extensively illustrated and referenced volumes. Volume 1 reviews sensory coding, psychophysical and analytic procedures, and basic visual mechanisms. Volume 2 reviews stereoscopic vision. Volume 3 reviews all mechanisms of depth perception other than stereoscopic vision. Together, these three volumes provide the most detailed review of all aspects of perceiving the three-dimensional world. Volume 1 contains a historical background and address basic coding process, an account of basic psychophysical procedures and principles of sensory coding, and an account of basic mechanisms underlying visual depth perception. It starts with a review of the history of investigations of visual depth perception from the ancient Greeks to the early 20th century. Depth-detection mechanisms in senses other than vision were not investigated before the 19th century. Special attention is devoted to the discovery of the principles of perspective in 15th century Florence, and the discovery of the principles of stereoscopic vision. The chapter ends with a review of early visual display systems, such as panoramas and peepshows, and the discovery and development of stereoscopes and stereophotography. One chapter reviews the psychophysical and analytic procedures used in behavioral investigations of depth perception. Another chapter deals with the broad topic of sensory coding, including the geometry of visual space, mechanisms of attention, and experience-dependent plasticity of visual functions. A review of the structure and physiology of the primate visual system proceeds from the eye through the LGN to the visual cortex and higher visual centers. This is followed by a review of the early evolution of visual systems and of the development of the mammalian visual system in the embryo and post-natal period, with an emphasis on mechanisms of neural plasticity. The development of perceptual functions, especially depth perception, in human infants is then reviewed. These chapters provide a foundation for a review of the effects of early visual deprivation during the critical period of neural plasticity on the development of the various types of amblyopia and of defects in visual depth perception. Various forms of deprivation are discussed, including dark rearing, binocular and monocular enucleation, strabismus, and eyelid suturing. Volume 1 ends with reviews of the accommodation mechanism of the human eye and vergence eye movements.

Musical Performance covers many aspects like Musical Acoustics, Music Psychology, or motor and prosodic actions. It deals with basic concepts of the origin or music and its evolution, ranges over neurocognitive foundations, and covers computational, technological, or simulation solutions. This volume gives an overview about current research in the foundation of musical performance studies on all these levels. Recent concepts of synchronized systems, evolutionary concepts, basic understanding of performance as Gestalt patterns, theories of chill as performance goals or historical aspects are covered. The neurocognitive basis of motor action in terms of music, musical syntax, as well as therapeutic aspects are discussed. State-of-the-art applications in performance realizations, like virtual room acoustics, virtual musicians, new concepts of real-time physical modeling using complex performance data as input or sensor and gesture studies with soft- and hardware solutions are presented. So although the field is still much larger, this volume presents current trends in terms of understanding, implementing, and perceiving performance.