Do humans start life with the capacity to detect and mentally represent the objects around them? Or is our object knowledge instead derived only as the result of prolonged experience with the external world? Are we simply able to perceive objects by watching their actions in the world, or do we have to act on objects ourselves in order to learn about their behavior? Finally, do we come to know all aspects of objects in the same way, or are some aspects of our object understanding more epistemologically privileged than others?
The Origins of Object Knowledge presents the most up-to-date survey of the research into how the developing human mind understands the world of objects and their properties. It presents some of the best findings from leading research groups in the field of object representation approached from the perspective of developmental and comparative psychology.
Topics covered in the book all address some aspect of what objects are from a psychological perspective; how humans and animals conceive what they are made of; what properties they possess; how we count them and how we categorize them; even how the difference between animate and inanimate objects leads to different expectations. The chapters also cover the variety of methodologies and techniques that must be used to study infants, young children, and non-human primates and the value of combining approaches to discovering what each group knows.
Bringing together leading researchers, communicating the most contemporary and exciting findings within the field of object representation, this volume will be an important work in the cognitive sciences, and of interest to those across the fields of developmental and comparative psychology.

The nature of attention is one of the oldest and most central problems in psychology. A huge amount of research has been produced on this subject in the last half century, especially on attention in the visual modality, but a general explanation has remained elusive. Many still view attention research as a field that is fundamentally fragmented. This book takes a different perspective and presents a unified theory of visual attention: the TVA model. The TVA model explains the many aspects of visual attention by just two mechanisms for selection of information: filtering and pigeonholing. These mechanisms are described in a set of simple equations, which allow TVA to mathematically model a large number of classical results in the attention literature. The theory explains psychological and neuroscientific findings by the same equations; TVA is a complete theory of visual attention, linking mind and brain. Aimed at advanced students and professional researchers, Principles of Visual Attention contains a detailed review of the most important research done on attention in vision, spanning cognitive psychology, brain imaging, patient studies, and recordings from single cells in the visual cortex. The book explains the TVA model and shows how it accounts for attentional effects observed across all the research areas described. Principles of Visual Attention offers a uniquely integrated view on a central topic in cognitive neuroscience.

Eye movements are a vital part of our interaction with the world. They play a pivotal role in perception, cognition, and education. Research in this field is now proceeding at a considerable pace and casting new light on how the eyes move and what information we can derive during the frequent and brief periods of fixation. However, the origins of this work are less well known, even though much of our knowledge was derived from this research with far more primitive equipment. This book is unique in tracing the history of eye movement research. It shows how great strides were made in this area before modern recording devices were available, especially in the measurement of nystagmus. When photographic techniques were adapted to measure discontinuous eye movements, from about 1900, many of the issues that are now basic to modern research were then investigated. One of the earliest cognitive tasks examined was reading, and it remains in the vanguard of contemporary research. Modern researchers in this field will be astonished at the subtleties of these early experimental studies and the ingenuity of interpretations that were advanced one and even two centuries ago. Though physicians often carried out the original eye movement research, later on it was pursued by psychologists - it is within contemporary neuroscience that we find these two strands reunited. Anyone interested in the origins of psychology and neuroscience will find much to stimulate and surprise them in this valuable new work.

The topic of colour vision is one that integrates research from psychology, neuroscience, biology, opthalmology, physics, and genetics. How do we make sense of colour in the world, and how has such an ability evolved in humans? How are colours discriminated by the retina, and how does the brain interpret chromatic information? How can our genes influence the way in which we perceive colours? Why do some people have problems perceiving colours, and what occupational difficulties may they face? In what ways is colour vision altered by disease or toxins?

John Mollon, Joel Pokorny, and Ken Knoblauch are leading authorities on the perception of colour. Together they have brought together a distinguished list of contributors to provide an interdisciplinary review of the field. An historical introduction marks the bicentennial of Thomas Young's trichromatic theory and provides useful background for the newcomer to the topic of colour vision. Carefully edited and indexed, this book is aimed at students and researchers in the visual sciences, in perceptual psychology, and in sensory neuroscience. It will be a definitive text on colour perception for some years to come.

For psychologists and cognitive neuroscientists interested in 'attention', the issue of the 'limits' of our attentional mechanisms is one of great importance and topicality- what are the temporal constraints when we attend to and process information How well can we switch our attention from one task to another, or from one sensory modality to another? In what circumstances can the presentation of one stimulus prevent the recognition of a further stimulus? By seeking answers to such questions, we can learn a great deal about the systems underlying such attentional processes, develop more accurate models of our attentional mechanisms, and even get closer to answering some of the many outstanding questions about consciousness itself. In The limits of attention, Kimron Shapiro whose own work on the 'attentional blink' is central to this debate, has brought together a high quality team of attention researchers to discuss and debate these issues, key to the study of attention. This is an important book for cognitive psychologists, cognitive neuroscientists, and philosophers.

Traditional, secular, and fundamentalist-all three categories are contested, yet in their contestation they shape our sensibilities and are mutually implicated, the one with the others. This interplay brings to the foreground more than ever the question of what it means to think and live as Tradition. The Orthodox theologians of the twentieth century, in particular, have emphasized Tradition not as a dead letter but as a living presence of the Holy Spirit. But how can we discern Tradition as living discernment from fundamentalism? What does it mean to live in Tradition when surrounded by something like the "secular"? These essays interrogate these mutual implications, beginning from the understanding that whatever secular or fundamentalist may mean, they are not Tradition, which is historical, particularistic, in motion, ambiguous and pluralistic, but simultaneously not relativistic. Contributors: R. Scott Appleby, Nikolaos Asproulis, Brandon Gallaher, Paul J. Griffiths, Vigen Guroian, Dellas Oliver Herbel, Edith M. Humphrey, Slavica Jakelic, Nadieszda Kizenko, Wendy Mayer, Brenna Moore, Graham Ward, Darlene Fozard Weaver

This volume is about the many ways we perceive. In nineteen new essays, philosophers and cognitive scientists explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information and what kinds of objects we perceive and whether multiple senses ever perceive a single event. Questions pertaining to how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful feature prominently. Contributors examine the extent to which the senses act in concert, rather than as discrete modalities, and whether this influence is epistemically pernicious, neutral, or beneficial. Many of the essays engage with the idea that it is unduly restrictive to think of perception as a collation of contents provided by individual sense modalities. Rather, contributors contend that to understand perception properly we need to build into our accounts the idea that the senses work together. In doing so, they aim to develop better paradigms for understanding the senses and thereby to move toward a better understanding of perception.

Our sense that a waltz is "in three" or a blues song is "in four with a shuffle" comes from our sense of musical meter. Hearing in Time explores the metric aspect of our musical experience from a psychological point of view. Musical meter is taken as a musically-specific instance entrainment, that is, our more general ability to synchronize our actions to the rhythms around us. As such, musical meter is subject to a number of fundamental perceptual and cognitive constraints. These constraints are the cornerstones of Hearing in Time's account of musical meter. Hearing in Time also takes into account the fact that listening to music, like many other rhythmic activities, is something that we do a lot. It also approaches musical meter in the context of music as it is actually performed, with nuances of timing and dynamics, rather than as a theoretical ideal. Hearing in Time's approach to meter is not based on any particular musical style or cultural practice, and so it discusses musical examples from a wide range of musical styles and cultures-from Beethoven and Bach to Brubeck and Ghanaian (Ewe) drumming. In taking this broad approach a number of fundamental similarities between a variety of different metric phenomena-such as the difference between so-called simple versus complex or additive meters-become apparent. Hearing in Time is written for musicians, musicologists, music theorists and psychologists who are interested in rhythm and meter. Only a modest ability read a musical score is presumed, and most musical examples are taken from familiar popular and classical repertory.

Harmony, the bringing together of dissimilar elements in a manner that coordinates these as parts of an organic whole, is central to different aspects of human existence. In many cultures, harmony is considered an important virtue. As a personal, social, or environmental accomplishment, harmony has a place in everyday conversation, political discourse, as well as academic scholarship. In most Western societies, however, it has no such presence. This volume introduces the virtue of harmony as a central aspect of the good life into global ethics discourse, and shapes the trajectory of ethics research in a manner that draws upon the resources of a broad variety of cultural traditions. The volume comprises thirteen essays that examine harmony against different cultural and disciplinary backgrounds. A broad variety of cultural traditions are represented, including the Confucian, Daoist, Buddhist, Judaist, Greek, Christian, Islamic, African, and Native American traditions. The volume's essays also represent different disciplinary approaches, such as philosophy, religious studies, linguistics, psychology, and political theory. Each contribution focuses on some aspect of what harmony as a personal trait, social disposition, or environmental outlook entails and describes how the virtue may be cultivated-either by examining the way in which it has been discussed in specific traditions of ethical, religious, or political thought, or by developing a cross-cultural analysis of the theory and practice of the virtue of harmony.

Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together an outstanding collection of international authorities - from the fields of music, neuroscience, psychology, and neurology - to describe the amazing advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music.

Attention has long been recognized as a central topic in human psychology. And, in an increasingly 'connected' world, understanding our attentional networks-in particular, their role in the selection of information, the maintenance of alertness and self-control, and the management of emotions-is, arguably, more important than ever. As research in and around the psychology of attention continues to flourish, this new four-volume collection from Routledge meets the need for an authoritative reference work to make sense of a complex body of research. The materials gathered in Volume I include explorations of the limits of attention and early empirical work on methods to probe brain activity. The major works collected in the second volume examine critical theories that allow computer programs to simulate and predict how attention operates, while Volume III is organized around the use of brain imaging, cellular recording, and optogenetics to delineate how the brain carries out the functions of attention. The final volume connects studies of attention to applications, including: connectivity to electronic media; brain-based educational curricula, the economics of decision making, and psychopathologies. With a full index, together with a comprehensive introduction, newly written by the editor, which places the collected material in its historical and intellectual context, The Psychology of Attention is an essential work of reference. The collection will be particularly useful as a database allowing scattered and often fugitive material to be easily located. It will also be welcomed as a crucial tool permitting rapid access to less familiar-and sometimes overlooked-texts. For researchers and advanced students, it is a vital one-stop research and instructional resource.

This book elucidates the poetics of Philodemus of Gadara, a first century BCE Epicurean philosopher and poet, whose On Poems survives in extensive fragments among the Herculaneum papyri. Although his treatise was primarily polemical and lacks positive exposition, his views are often recoverable from a careful reading of the debates, occasional direct evidence, and attention to his basic Epicurean commitments. His main critical principle is that form and content are inseparable and mutually-reinforcing: a change in one means a change in the other. The poet uses this marriage of form and content to create the psychological effect of the poem in the audience. This effect is hard to pin down exactly. Poems produce "additional thoughts" in the audience, and these entertain them. It seems clear that Philodemus expected good poets to arrange form and content suggestively, so that the poems could exert a lasting pull on the minds of the audience. Additionally, this book summarizes the views of Philodemus' opponents, the technical terminology of literary criticism in the Hellenistic period, and the history of Epicureanism's engagement with poetics. Epicurus did not write an On Poems but Metrodorus did, and this is probably Philodemus' touchstone for his own views. Zeno of Sidon, Demetrius Laco, Siro, and other Epicureans are examined as well. The book concludes with an appendix of topics examined by Philodemus, such as genre, mimesis, "appropriateness," utility, and various technical terms.

Most research on perception has focused on the perceptual experience of three-dimensional, solid, bounded, and coherent material objects - items like tables and tomatoes. But as well as having perceptual experience of such objects, we also experience such aspects of the world as, for instance, rainbows and surfaces, shadows and absences: things that are ephemeral by contrast with material objects. This book presents fifteen new essays on the perceptual experience of such ephemera. The editors' introduction provides a detailed guide to the topic as a whole, setting out the thematic background to this emerging area of research in contemporary philosophy of perception. The volume winds a path through the ephemeral, considering such topics as sounds, smells, transparency, reflection, camouflage, solidity, and ambient vision. A general aim of the volume is to make a case that the broad range of ephemera it catalogues is far from marginal, or insubstantial with respect to their philosophical interest and value. Philosophical attention to perceptul ephemera may well suggest novel routes to arriving at a more developed understanding of perceptual experience at large and its characteristic features.

Does life have meaning? Is it possible for life to be meaningful when the world is filled with suffering and when so much depends merely upon chance? Even if there is meaning, is there enough to justify living? These questions are difficult to resolve. There are times in which we face the mundane, the illogically cruel, and the tragic, which leave us to question the value of our lives. However, Iddo Landau argues, our lives often are, or could be made, meaningful-we've just been setting the bar too high for evaluating what meaning there is. When it comes to meaning in life, Landau explains, we have let perfect become the enemy of the good. We have failed to find life perfectly meaningful, and therefore have failed to see any meaning in our lives. We must attune ourselves to enhancing and appreciating the meaning in our lives, and Landau shows us how to do that. In this warmly written book, rich with examples from the author's life, film, literature, and history, Landau offers new theories and practical advice that awaken us to the meaning already present in our lives and demonstrates how we can enhance it. He confronts prevailing nihilist ideas that undermine our existence, and the questions that dog us no matter what we believe. While exposing the weaknesses of ideas that lead many to despair, he builds a strong case for maintaining more hope. Along the way, he faces provocative questions: Would we choose to live forever if we could? Does death render life meaningless? If we examine it in the context of the immensity of the whole universe, can we consider life meaningful? If we feel empty once we achieve our goals, and the pursuit of these goals is what gives us a sense of meaning, then what can we do? Finding Meaning in an Imperfect World is likely to alter the way you understand your life.

Helen Neville was a pioneer in the field of Neuroplasticity, focusing her research on deafness and contributing to an acceptance of the role that experience plays in shaping the sensory system This book will honour her work, following her untimely death in 2018 Featuring contributions from former students, collaborators, and colleagues, the book showcases Professor Neville's legacy to the field

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.

Have you ever wondered why you have a brain? Let renowned neuroscientist Lisa Feldman Barrett demystify that big grey blob between your ears.

In seven short essays (plus a bite-sized story about how brains evolved), this slim, entertaining, and accessible collection reveals mind-expanding lessons from the front lines of neuroscience research. You’ll learn where brains came from, how they’re structured (and why it matters), and how yours works in tandem with other brains to create everything you experience. Along the way, you’ll also learn to dismiss popular myths such as the idea of a 'lizard brain' and the alleged battle between thoughts and emotions, or even between nature and nurture, to determine your behaviour.

Sure to intrigue casual readers and scientific veterans alike, Seven and a Half Lessons About the Brain is full of surprises, humour, and important implications for human nature - a gift of a book that you will want to savour again and again.

In a major contribution to the theory of perception, A. D. Smith presents a truly original defense of direct realism--the view that in perception we are directly aware of things in the physical world.

"The Problem of Perception" offers two arguments against direct realism--one concerning illusion, and one concerning hallucination--that no current theory of perception can adequately rebut. Smith then develops a theory of perception that does succeed in answering these arguments; and because these arguments are the only two that present direct realism with serious problems arising from the nature of perception, direct realism emerges here for the first time as an ultimately tenable position within the philosophy of perception.

At the heart of Smith's theory is a new way of drawing the distinction between perception and sensation, along with an unusual treatment of the nature of objects of hallucination. With in-depth reference to both the analytical and the phenomenological literature on perception, and with telling criticism of alternative views, Smith's groundbreaking work will be of value to philosophers of perception in both the analytical and the phenomenological tradition, as well as to psychologists of perception.

How is it that thoroughly physical material beings such as ourselves can think, dream, feel, create and understand ideas, theories and concepts? How does mere matter give rise to all these non-material mental states, including consciousness itself? An answer to this central question of our existence is emerging at the busy intersection of neuroscience, psychology, artificial intelligence, and robotics. In this groundbreaking work, philosopher and cognitive scientist Andy Clark explores exciting new theories from these fields that reveal minds like ours to be prediction machines - devices that have evolved to anticipate the incoming streams of sensory stimulation before they arrive. These predictions then initiate actions that structure our worlds and alter the very things we need to engage and predict. Clark takes us on a journey in discovering the circular causal flows and the self-structuring of the environment that define "the predictive brain." What emerges is a bold, new, cutting-edge vision that reveals the brain as our driving force in the daily surf through the waves of sensory stimulation.

In Perceptual Imagination and Perceptual Memory a group of distinguished contributors examine how perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience.They question the role each plays in perception and in the acquisition of knowledge. The collection discusses the epistemic roles that the imagination and memory play in our mental lives. It pushes forward the debates about the nature of perceptual imagination and perceptual memory. This innovative study will encourage future discussions on these interesting topics by students and scholars in the field. This volume presents ten new essays on the nature of perceptual imagination and perceptual memory, framed by an introductory overview of these topics. How do perceptual imagination and memory resemble and differ from each other and from other kinds of sensory experience? And what role does each play in perception and in the acquisition of knowledge? These are the two central questions that the contributors seek to address.

Joshua Gert presents an original account of color properties, and of our perception of them. He employs a general philosophical strategy - neo-pragmatism - which challenges an assumption made by virtually all other theories of color. Neo-pragmatism rejects the standard representationalist strategy for solving "placement problems" in philosophy, which relies on the existence of a substantive notion of reference and truth. Instead, it makes use of deflationary accounts of such semantic notions. Applied to the domain of color, the result is a view according to which colors are primitive properties of objects, irreducible to physical or dispositional properties. In this way they are more like numbers, and less like natural kinds such as water or gold. Objective colors are also - contrary to current dogma - insufficiently determinate in their nature to allow them to be associated with precise points in standard color spaces. A given color can present different veridical appearances in different viewing circumstances, and to different normal viewers. It is these appearances, which are to be understood in an adverbial way, that can be located in standard color spaces. In explaining the distinction between objective color and color appearance, a central analogy to which Gert appeals is that between the perceptible three-dimensional shape of an object, and the various ways in which that shape appears from various perspectives. Primitive Colors also offers an account of color constancy, a moderated version of representationalism about visual experience, and a criticism of the thesis of the transparency of experience.

Auditory Sound Transmission provides an integrated, state-of-the-art description and quantitative analysis of sound transmission from the outer ear to the sensory cells in the cochlea of the inner ear. It describes in detail the structures and mechanisms involved and gives their input and transmission characteristics. It shows how sound transmission in one part of the ear depends on the input characteristics of the next part and how sound is analyzed in the inner ear before it reaches the nervous system. The book is divided into seven chapters. The first gives the general overview of the path of sound in the ear. The second concerns the acoustics of the outer ear which is important not only for sound transmission in the ear but also for the design and calibration of earphones, as well as for clinical and research measurements of sound pressure in the ear canal. The third chapter analyzes the middle ear function which is crucial for adapting the conditions of sound propagation in the air to those in the inner ear fluids. The middle ear is prone to various malfunctions, and it is shown how they change the acoustic conditions measured in the ear canal and can be diagnosed on this basis. The next three chapters are dedicated to the most intricate mechanical part of the auditory system, the cochlea. Because of its complexity, its function is explained in three steps: first, with the help of simplifications produced by death; second, on the basis of the measured characteristics of the live organ; third, with the help of quantitative analysis. The last chapter describes cochlear mechanisms underlying pitch and loudness perception.

Anyone interested in the study of attention will have had some exposure to the work of Anne Treisman. Anne Treisman has been one of the most influential cognitive psychologists in the last 50 years. Her research and theoretical insights have influenced a variety of disciplines, including vision sciences, auditory sciences, cognitive psychology, cognitive neurosciences, philosophy, psychiatry, neuropsychology, and behavioral neurology. She is best known for her work on attention. Early in her career, much of that work involved auditory stimuli. Her later work has been primarily in the realm of visual attention. She has been especially concerned with the interactions among visual perception, attention, and memory as they relate to conscious and unconscious experience. Her Feature Integration Theory has been one of the organizing ideas in the field for three decades. While still a graduate student at Oxford, she helped launch the modern study of attention. In the present volume, several of her most influential papers are reprinted (including some of the harder to find early work). To accompany these reprints, the editors invited experts to comment and/or to show how their own work had been shaped by Treisman's ideas and findings. The result is a scientifically rich ride through the world of ideas inspired by Treisman's work. The contributed chapters include discussions of auditory and visual attention, the role of features in selection, parallel and serial processing, and automaticity. They describe the roots and evolution of Feature Integration Theory and related models like Guided Search. They explore the interactions of attention and perception at the cognitive, neuropsychological, and biological levels. Readers can consider the critical role of binding in perception, the role of attention in scene perception, as well as the influence of cognitive load, memory, reflection, and perceptual learning on early and late processing. They will see how methods to study conscious perceptual awareness have evolved over the years.

An examination of the two most radical dissociation syndromes of the human pain experience-pain without painfulness and painfulness without pain-and what they reveal about the complex nature of pain and its sensory, cognitive, and behavioral components. In Feeling Pain and Being in Pain, Nikola Grahek examines two of the most radical dissociation syndromes to be found in human pain experience: pain without painfulness and painfulness without pain. Grahek shows that these two syndromes-the complete dissociation of the sensory dimension of pain from its affective, cognitive, and behavioral components, and its opposite, the dissociation of pain's affective components from its sensory-discriminative components (inconceivable to most of us but documented by ample clinical evidence)-have much to teach us about the true nature and structure of human pain experience. Grahek explains the crucial distinction betweenfeeling pain and being in pain, defending it on both conceptual and empirical grounds. He argues that the two dissociative syndromes reveal the complexity of the human pain experience: its major components, the role they play in overall pain experience, the way they work together, and the basic neural structures and mechanisms that subserve them. Feeling Pain and Being in Pain does not offer another philosophical theory of pain that conclusively supports or definitively refutes either subjectivist or objectivist assumptions in the philosophy of mind. Instead, Grahek calls for a less doctrinaire and more balanced approach to the study of mind-brain phenomena.

Why do things look blurry underwater? Why do people drive too fast in fog? How do you high-pass filter a cup of tea? What have mixer taps to do with colour vision? Basic Vision: An Introduction to Visual Perception demystifies the processes through which we see the world. Written by three authors with over 80 years of research and undergraduate teaching experience between them, it leads the reader step-by-step through the intricacies of visual processing, with full-colour illustrations on nearly every page. The writing style captures the excitement of recent research in neuroscience that has transformed our understanding of visual processing, but delivers it with a humour that keeps the reader enthused, rather than bemused. The book takes us through the various elements that come together as our perception of the world around us: the perception of size, colour, motion, and three-dimensional space. It illustrates the intricacy of the visual system, discussing its development during infancy, and revealing how the brain can get it wrong, either as a result of brain damage, through which the network of processes become compromised, or through illusion, where the brain compensates for mixed messages by seeing what it thinks should be there, rather than conveying the reality. The book also demonstrates the importance of contemporary techniques and methodology, and neuroscience-based techniques in particular, in driving forward our understanding of the visual system. Online Resource Centre The Online Resource Centre to accompany Basic Vision features: For registered adopters: Figures from the book available to download, to facilitate lecture preparation. Test bank of multiple choice questions - a readily available tool for either formative or summative assessment. A Journal Club, with questions to lead students through key research articles that relate to topics covered in the book. For students: Annotated web links, giving students ready access to these additional learning resources.