First published in 1924 as the second edition of a 1915 original, and part of the Cambridge Psychological Library, this book examines the chief theories on colour vision in the light of available facts at the time of publication. In the first section of the book, Parsons discusses the physical, anatomical and psychological bases of colour vision in a variety of eyes. The second part analyses colour blindness. The third and final segment evaluates the various theories of colour vision. This book will be of value to anyone with an interest in the history of science or colour vision.

Out of all the human senses, touch is the one that is most often unappreciated, and undervalued. Yet, the surface of the human body, the skin, is actually one huge sheet of tactile receptors. It provides us with the means to connect with our surroundings. Despite the important role that vision plays in our everyday lives, it is the skin that constitutes both the oldest, and by far the largest of our sense organs. The skin protects our body from the external world and, at the same time, informs us about what occurs on its surface. In Touch With The Future explores the science of touch, bringing together the latest findings from cognitive neuroscience about the processing of tactile information in humans. The book provides a comprehensive overview of scientific knowledge regarding themes such as tactile memory, tactile awareness (consciousness), tactile attention, the role of touch in interpersonal and sexual interactions, and the neurological substrates of touch. It highlights the many ways in which our growing understanding of the world of touch can, and in some cases already are, being applied in the real world in everything from the development of virtual reality (VR) environments, tablet PCs, mobile phones, and even teledildonics - the ultimate frontier in terms of adult entertainment. In addition, the book shows how the cognitive neuroscience approach to the study of touch can be applied to help improve the design of many real-world applications/products as well as to many of our everyday experiences, such as those related to the appreciation of food, marketing, packaging design, the development of enhanced sensory substitution systems, art, and man-machine interfaces. Crucially, the authors makes a convincing argument for the view that one cannot really understand touch, especially not in a real-world context, without placing it in a multisensory context. That is, the senses interact to influence tactile perception in everything - from changing the feel of a surface or product by changing the sound it makes or the fragrance it has. For students and researchers in the brain sciences, this book presents a valuable and fascinating exploration into one of our least understood senses

Charles Travis presents a series of connected essays on current topics in philosophy of perception. The book is informed throughout by a number of central insights of Gottlob Frege's, notably about some intrinsic differences between objects of thought and objects of perception, and about the essential publicity of thought, and hence of its objects. Travis addresses a number of key questions, including how perception can make the world bear for the perceiver on the thing for him to do or think; what it might be for there to be perceptual experiences indistinguishable from ones of perceiving (hence from experiences of one's surroundings); what it might be for things to look a certain way to the experiencer, where this is not for things to look that way; what the upshot of (sub-personal) perceptual processing might be, what sorts of capacities are drawn on in representing something as (being) something. Besides Frege, the essays owe much to J. L. Austin, something to J. M. Hinton, and more than a little to John McDowell and to Thompson Clarke. They engage critically with McDowell and with Clarke, as well as with such philosophers as Christopher Peacocke, Tyler Burge, Jerry Fodor, Elisabeth Anscombe, A. J. Ayer, and H. A. Prichard.

The psychologist Edmund Parish makes a valuable contribution to the study of the psychology of perception as well as introducing a theory of insanity in this 1897 work. The author tells the reader that it grew out of an examination of the German 'International Census of Waking Hallucinations in the Sane', the results of which he had analysed. Rather than merely translating the German original, Parish has added new information and considered criticism of his own previous work. The book is a sustained effort to define 'the common organic principle which, under whatever diversity of conditions, underlies alike normal and fallacious perception', by incorporating the most recent psychological and neurological research. Parish is especially interested in casting light on the waking hallucinations of healthy persons, as he regards this phenomenon as having been largely ignored by previous research.

The study of emotional expressions has a long tradition in psychology. Although research in this domain has extensively studied the social context factors that influence the expresser's facial display, the perceiver was considered passive. This 2007 book focuses on more recent developments that show that the perceiver is also subject to the same social rules and norms that guide the expresser's behavior and that knowledge of relevant emotion norms can influence how emotional expressions shown by members of different groups are perceived and interpreted. Factors such as ethnic-group membership, gender and relative status all influence not only emotional expressions but also the interpretation of emotional expressions shown by members of different groups. Specifically, the research presented asks the question of whether and why the same expressions shown by men or women, members of different ethnic groups, or individuals high and low in status are interpreted differently.

Perceptual Constancy examines a group of long-standing problems in the field of perception and provides a review of the fundamentals of the problems and their solutions. Experts in several different fields - including computational vision, physiology, neuropsychology, psychophysics and comparative psychology - present their approaches to one of the fundamental problems of perception: how does the brain extract a stable world from an ever-changing retinal input? How do we achieve color constancy despite changes in the wavelength content of daylight? How do we recognize objects from different viewpoints? And how do we know the sizes of those objects? The volume is divided into three sections, each of which addresses developmental, clinical and comparative issues, psychophysics, and physiology.

Advances in our understanding of the ways in which people obtain information about the world through their hand and skin sense have many practical implications for work with sensorily impaired children and adults. This volume, first published in 1982, draws together the threads of numerous studies to present an overview of knowledge about tactual-haptic perception. It will be a valuable reference text for a wide variety of psychologists and other students of perception as well as for those involved in the education of the blind and deaf. Tactual graphics, the perception of speech via the skin and the written word via Braille, the production and perception of drawings by the blind, and the social significance of touch are among the topics addressed by the chapter authors.

Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O'Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind.
Sounds proposes a novel theory of sounds and auditory perception. Against the widely accepted philosophical view that sounds are among the secondary or sensible qualities, O'Callaghan argues that, on any perceptually plausible account, sounds are events. But this does not imply that sounds are waves that propagate through a medium, such as air or water. Rather, sounds are events that take place in one's environment at or near the objects and happenings that bring them about. This account captures the way in which sounds essentially are creatures of time, and situates sounds in a world populated by items and events that have significance for us. Sounds are not ethereal, mysterious entities.
O'Callaghan's account of sounds and their perception discloses far greater variety among the kinds of things we perceive than traditional views acknowledge. But more importantly, investigating sounds and audition demonstrates that considering other sense modalities teaches what we could not otherwise learn from thinking exclusively about the visual. Sounds articulates a powerful account of echoes, reverberation, Doppler effects, and perceptual constancies that surpasses the explanatory richness of alternative theories, and also reveals a number of surprising cross-modal perceptual illusions. O'Callaghan argues that such illusions demonstrate that the perceptual modalities cannot be completely understood in isolation, and that the visuocentric model for theorizing about perception - according to which perceptual modalities are discrete modes of experience and autonomous domains of philosophical and scientific inquiry - ought to be abandoned.

The cooperative action of different regions of our brains gives us an amazing capacity to perform activities as diverse as playing the piano and hitting a tennis ball. Somehow, without conscious effort, our eyes find the information we need to operate successfully in the world around us. The development of head-mounted eye trackers over recent years has made it possible to record where we look during different active tasks, and so work out what information our eyes supply to the brain systems that control our limbs. We are now in a position to explore the strategies that the eye movement system uses in the initiation and guidance of action.
Looking and Acting examines a wide range of visually guided behaviour, from sedentary tasks like reading and drawing, to dynamic activities such as driving and playing cricket. A central theme is that the eye movement system has its own knowledge about where to find the most appropriate information for guiding action - information not usually available to conscious scrutiny. Thus each type of action has its own specific repertoire of linked eye movements, acquired in parallel with the motor skills themselves. Starting with a brief background to eye movement studies, the book then reviews a range of observations and analyses of different activities. It ends with discussions of the nature of visual representation, the neurophysiology of the systems involved, and the roles of attention and learning.
Opening a field in eye movement research, this fascinating book will be of great interest to all vision scientists (psychologists, physiologists, ophthalmologists) whether at professional, graduate, or advanced undergraduate levels. It will also be of value to musicians, artists, sports scientists, and transport engineers, and indeed anyone intrigued by the way we sample the visual world.

If a man born blind were to gain his sight in later life would he be able to identify the objects he saw around him? Would he recognise a cube and a globe on the basis of his earlier tactile experiences alone? This was William Molyneux's famous question to John Locke and it was much discussed by English and French empiricists in the eighteenth century as part of the controversy over innatism and abstract ideas. Dr Morgan examines the whole history of this debate: Locke's own (negative) answer to the question, the contributions of Berkeley, Condillac, Diderot and Voltaire and the factual accounts of early cataract operations and modern laboratory studies. He shows how this debate is involved in the development and eventual separation of philosophy and experimental psychology after the eighteenth century and considers why the original question is effectively still unanswered. This is one problem-area with its intricate cluster of connected conceptual and technical difficulties which suggests the need for some reunion or at least collaboration between the two subjects.

In recent years, Bayesian probability theory has emerged not only as a powerful tool for building computational theories of vision, but also as a general paradigm for studying human visual perception. The Bayesian approach provides new and powerful metaphors for conceptualizing visual perception, suggests novel questions to ask about perceptual processing, and provides the means to formalize theories of perception that make testable predictions about human perceptual performance. This book provides an introduction to and critical analysis of the Bayesian paradigm. Chapters by leading researchers in computational theory and experimental visual science introduce new theoretical frameworks for building perceptual theories, discuss the implications of the Bayesian paradigm for psychophysical studies of human perception, and describe specific applications of the approach. The editors have created a critical dialogue of ideas through the authors' commentaries on each others' chapters, conveying to the reader a unique appreciation for the issues and ideas raised in the book.

Larry M. Jorgensen provides a systematic reappraisal of Leibniz's philosophy of mind, revealing the full metaphysical background that allowed Leibniz to see farther than most of his contemporaries. In recent philosophy much effort has been put into discovering a naturalized theory of mind. Leibniz's efforts to reach a similar goal three hundred years earlier offer a critical stance from which we can assess our own theories. But while the goals might be similar, the content of Leibniz's theory significantly diverges from that of today's thought. Perhaps surprisingly, Leibniz's theological commitments yielded a thoroughgoing naturalizing methodology: the properties of an object are explicable in terms of the object's nature. Larry M. Jorgensen shows how this methodology led Leibniz to a fully natural theory of mind.

Ways of seeing is a book about human vision. It results from the collaboration between a world famous cognitive neuroscientist and an eminent philosopher. In the past forty years, cognitive neuroscience has made many startling discoveries about the human brain, and about the human visual system in particular. This book brings many recent empirical findings, from electrophysiological recordings in animals, the neuropsychological examination of human patients, psychophysics, and developmental cognitive psychology, to bear on questions traditionally addressed by philosophers. What is the meaning of the English verb 'to see'? How does visual perception yield knowledge of the world? How does visual perception relate to thought? What is the role of conscious visual experience in visually guided actions? How does seeing actions relate to seeing objects? In the process the book provides a new assessment of the 'two visual systems' hypothesis, according to which the human visual system comprises two anatomical pathways with separable visual functions. The first truly interdisciplinary book about human vision, it will be of interest to students and researchers in many areas of cognitive science and the philosophy of mind.

The evocation of narrative as a way to understand the content of consciousness, including memory, autobiography, self, and imagination, has sparked truly interdisciplinary work among psychologists, philosophers, and literary critics. Even neuroscientists have taken an interest in the stories people create to understand themselves, their past, and the world around them. The research presented in this volume should appeal to researchers enmeshed in these problems, as well as the general reader with an interest in the philosophical problem of what consciousness is and how it functions in the everyday world.

The best example of filling-in involves the blind spot, a region of the retina devoid of photoreceptors. Remarkably, the region of visual space corresponding to the blind spot is not perceived as a dark region in space, but instead as having the same colour and texture as the surrounding background; hence the expression "filling in." While this type of perceptual completion phenomenon is common in the visual domain, it is argued by the leading scientists who contribute to this book that forms of filling-in also take place in other sensory modalities, including the auditory, somatosensory, and motor systems. In a concluding chapter an integrative approach is taken, which attempts to provide a common framework for completion phenomena occurring on a fast time scale, and cortical reorganization in sensory and motor cortex induced by peripheral damage or skill learning taking place on a slower time scale. It is proposed that systematic changes in the interplay between inhibitory and excitatory inputs permit cortical neurons to become driven by new sources of input, which, in addition to initial perceptual consequences can lead to a long-term structural reorganization of cortex.

This book represents a truly interdisciplinary approach to neuroscience, with chapters covering computational modelling, visual psychophysics, functional brain imaging, single-cell physiology, and clinical patient cases. It will be of interest to researchers and graduate students in systems neuroscience, cognitive neuroscience, vision science, neuroimaging, perceptual psychology, computational neuroscience, and philosophy of mind.

Gestalt psychology, neurophysiology and the psychology of perception have tried to answer the question of whether we see forms as a whole or as the sum of their parts, why we perceive things as they are and not as they appear on the retina, which is in fact changed in perspective and in size, and which visual cortical areas and which neurons react to which phenomena. But the most important question for the author is which additional information the thing that is seen conveys. How do we tell the difference between a cheerful and a gloomy face? Why do we see that a bud will open shortly? Why do we find some phenomena to be dangerous and others to be desirable? These question have not yet been investigated in a systematic and scientific way, although they are of vital importance to our behaviour. Jürgen Weber brings together the results of various disciplines and his own research and experience as a sculptor and painter with a scientific background and develops a new theory of perception of form.

This book presents the basic concepts of classical psychophysics, derived from Gustav Fechner, as seen from the perspective of modern measurement theory. The theoretical discussion is elucidated with examples and numerous problems, and solutions to one-quarter of the problems are provided in the text.

Donald Broadbent made a major and lasting contribution to the field of applied psychology during his long career. This book brings together many other leaders in the field, who describe the impact of Broadbent's work on their own research, and the new developments which resulted. It is a collection of authoritative reviews as well as a tribute to one of the most important researchers in experimental psychology.

How do we sort the objects, people, events, and ideas in the world into their proper categories so that we may experience and interact with them? This fundamental question about human--and animal--perception and cognition is the subject of Categorical Perception, a comprehensive survey of a wide range of important research findings on the subject. The volume brings together all known examples of categorical perception, from research on humans and animals, infants and adults, in all the sense modalities: hearing, seeing, and touch. The perceptual findings are then interpreted in terms of the available cognitive and neuroscientific theories of how categorical perception is accomplished by the brain. Research on elementary perceptual and psychophysical categories is then compared with work on higher order categories such as objects, patterns, and abstract concepts. The book proceeds to an integrative view of categorization in general by exploring the most thoroughly investigated case of categorical perception--speech perception.

The attempt to study language as part of cognitive science is apparently being thwarted by the lack of contact and inferential links between current theoretical paradigms. This dynamic collection provides an overview of the relationship between linguistic form and interpretation as exemplified by the most influential of these paradigms - the current Chomskian Government and Binding paradigm, the conflicting Situation Semantics paradigm, the Davidsonian programme and, finally, the new relevance theory of cognition and pragmatics. More ambitiously, it works towards an overall theory of cognition, which, the editor believes, has been facilitated by the assumptions and claims of relevance theory. The contributors to the volume are well known for their work at the language-cognition interface and each essay is a stimulating and insightful consideration of the problem. The editor's introduction will be invaluable to any reader not fully conversant with current theory, providing the necessary background, and her concluding essay is a brilliant exposition of the way in which Relevance Theory can create links whereby apparently disparate views are combined into a unified modular account of language and cognitive processes.

The world of perception is multisensory. Even a simple task such as judging the position of a light in a dark room depends not only on vision but also on sensory signals about the position of our body in space. Likewise, how we experience food depends on sensory signals originating from the mouth, but also from nose signals, and even vision and hearing. However, traditional books on perception still discuss each of the "senses" separately. This book takes a different stance: it defines perception as intrinsically multisensory from the start and examines multisensory interactions as key process behind how we perceive our own body, control its movements, perceive and recognise objects, respond to edible objects, perceive space, and perceive time. In addition, the book discusses multisensory processing in synaesthesia, multisensory attention, and the role of multisensory processing in learning. As an introduction to multisensory perception, this book is essential reading for students in psychology, philosophy, and neuroscience at the advanced undergraduate to postgraduate levels. As the chapters address topics that are often left out of standard textbooks, this book will also serve as a useful reference for specialist perception scientists and clinicians. Finally, as a monograph understandable to the educated non-specialist this book will also be of interest to professionals who need to take into account multisensory processing in domains such as, for instance, physiotherapy, neurological rehabilitation, human-computer interfaces, marketing, or the design of products and services.

In this book, renowned philosopher John Kekes develops and defends a humanistic conception of wisdom as a personal attitude-one that can guide how we face adversities and evaluate the often conflicting possibilities and limits of life in the context in which we live. Wisdom includes basic assumptions about the concrete and constantly changing conditions of life; reflective understanding of how we can rely on reason to evaluate the possibilities open to us and recognize the limits we have no choice but to accept; and it includes depth that enables us to accept that perennial problems are part of the human condition and yet to restrain our false hopes and disenchanted reactions to the vicissitudes of life. The evaluative attitude of wisdom is personal, not theoretical; anthropocentric, not metaphysical; context-dependent, not universal; and humanistic, not scientific. It recognizes that there are many forms of worthwhile lives, and denies that there is one ideal of The Good that everyone should try to approximate. It accepts that all of our beliefs, emotions, and desires are fallible, yet they are correctable provided we are sufficiently critical of them. The resulting conception of wisdom is intended as a contribution to philosophy as a humanistic discipline. It is a radical departure from traditional ways of thinking about wisdom.

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.

What can art tell us about how the brain works? And what can the brain tell us about how we perceive and create art? Humans have created visual art throughout history and its significance has been an endless source of fascination and debate. Visual art is a product of the human brain, but is art so complex and sophisticated that brain function and evolution are not relevant to our understanding? This book explores the links between visual art and the brain by examining a broad range of issues including: the impact of eye and brain disorders on artistic output; the relevance of Darwinian principles to aesthetics; and the constraints imposed by brain processes on the perception of space, motion and colour in art. Arguments and theories are presented in an accessible manner and general principles are illustrated with specific art examples, helping students to apply their knowledge to new artworks.

This book tells the amazing story of perception -- how experiences are created by your senses and how you use these experiences to interact with the environment. You might be surprised to know that although perception is easy -- we see, hear, feel touch, and experience taste and smell without much effort -- the mechanisms that create perceptions are both extremely complex and hidden from our view. SENSATION AND PERCEPTION unravels these complexities by taking you on a journey that describes perceptual research in a clear easy-to-understand way, and by linking the results of this research to your everyday experience. The text is supported by beautiful color illustrations, a media program that makes perception come alive (in the MindTap digital learning solution), and learning aids to help you understand and remember what you have read.