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.

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.

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.

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.

"This volume is the most important if not the final word on the great imagery debate. It examines issues critical to all cognition. For example, whether the brain is a general purpose computer and if the brain's structure imposes limits on what can be represented in our minds." Michael I. Posner, Prof. Emeritus University of Oregon -k No
"The Case for Mental Imagery is destined to be a classic text in psychology. the authors] present an in-depth, philosophically sophisticated, and empirically supported argument that clarifies and settles many of the most contentious issues in the longstanding, decades-long 'imagery debate'...This is an impressive achievement and an outstanding example of the way controversies can be addressed through a combination of sophisticated theoretical concepts paired with expertly conducted scientific research programs."--PsycCRITIQUES -k No
"This is an outstanding book that presents a roadmap of the psychological and neural mechanisms underlying mental imagery. The field of mental imagery has a long and somewhat dark history and the study of the critical cognitive ability has only been considered scientifically legitimate relatively recently. In this book, Kosslyn and colleagues not only summarize the wealth of their own recent scientific findings but elegantly place these findings and their theoretical perspective in the larger historical and contemporary context of studies on mental imagery. The book distills a rich, complicated domain into a series of accessible topics and will serve as an invaluable guide to those entering the field, a refresher for those with passing knowledge, and a major reference for the cognoscenti."--Marlene Behrmann, Professor of Psychology, Carnegie Mellon University
"For centuries, mental imagery has been recognized as one of the keys to understanding human intelligence, emotion, and creativity. Stephen Kosslyn developed the first comprehensive theory of this faculty of mind, and for three decades has explored it with theoretical depth, experimental ingenuity, and a relentless drive to get to the bottom of puzzles and controversies. Kosslyn has now given us a magisterial account of this crucial aspect of mental life. A seamless synthesis of mind and brain, The Case for Mental Imagery is a case of cognitive neuroscience at its finest."--Steven Pinker, Johnstone Family Professor of Psychology, Harvard University
"The definitive treatment of mental imagery from a pictorialist point of view."--Ned Block, Silver Professor of Philosophy and Psychology, New York University

To be a "commonsense realist" is to hold that perceptual experience is (in general) an immediate awareness of mind-independent objects, and a source of direct knowledge of what such objects are like. Over the past few centuries this view has faced formidable challenges from epistemology, metaphysics, and, more recently, cognitive science. However, in recent years there has been renewed interest in it, due to new work on perceptual consciousness, objectivity, and causal understanding. This volume collects nineteen original essays by leading philosophers and psychologists on these topics. Questions addressed include: What are the commitments of commonsense realism? Does it entail any particular view of the nature of perceptual experience, or any particular view of the epistemology of perceptual knowledge? Should we think of commonsense realism as a view held by some philosophers, or is there a sense in which we are pre-theoretically committed to commonsense realism in virtue of the experience we enjoy or the concepts we use or the explanations we give? Is commonsense realism defensible, and if so how, in the face of the formidable criticism it faces? Specific issues addressed in the philosophical essays include the status of causal requirements on perception, the causal role of perceptual experience, and the relation between objective perception and causal thinking. The scientific essays present a range of perspectives on the development, phylogenetic and ontogenetic, of the human adult conception of perception.

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.

Is the human eye like a camera? What makes your ears 'pop' on a plane? Why did women in the Middle Ages put belladonna into their eyes? This fully updated 2nd edition of Sensation and Perception is an accessible introduction to the field of perception. It covers in detail the perceptual processes related to vision and hearing, taste and smell, touch and pain, as well as the vestibular and proprioceptive systems. From seeing in colour to pathologies of perception, and from recognising faces to research methods, this textbook is essential reading for any student of perception. New material includes: * 'Applications' features connect key content to real-life contexts * Thinking Critically feature pushes students beyond the basics * End-of-chapter essay questions * An entirely new chapter on Action & Perception John Harris is Emeritus Professor of Psychology at the University of Reading Jared Smith is Senior Research Fellow at the Population Health Research Institute of St George's, University of London

The Sense of Hearing is a highly accessible introduction to auditory perception, addressing the fundamental aspects of hearing. This fourth edition has been revised to include up-to-date research and references. In particular, Chapter 7 on Pitch and Periodicity Coding and Chapter 13 on Hearing Loss include new material to reflect the fast pace of research in these areas. The book introduces the nature of sound and the spectrum, and the anatomy and physiology of the auditory system, before discussing basic auditory processes such as frequency selectivity, loudness and pitch perception, temporal resolution, and sound localization. Subsequent chapters show how complex processes such as perceptual organization, speech perception, and music perception are dependent on the initial analysis that occurs when sounds enter the ear. The book concludes with a description of the physiological bases and perceptual consequences of hearing loss, as well as the latest diagnostic techniques and management options that are available. Featuring student-friendly resources, including an overview of research techniques, an extensive glossary of technical terms, and over 150 original illustrations, The Sense of Hearing offers a clear introduction and an essential resource for students in the fields of audiology and sound perception.

How do we see? This question has fascinated and perplexed philosophers and scientists for millennia. In visual perception, mind and world meet, when light reflected from objects enters the eyes and stimulates the nerves leading to activity in the brain near the back of the head. This neural activity yields conscious experiences of a world in three dimensions, clothed in colors, and immediately recognized as (say) ground, sky, grass, trees, and friends. The visual brain also produces nonconscious representations that interact with other brain systems for perception and cognition and that help to regulate our visually guided actions. But how does all of this really work? The answers concern the physiology, psychology, and philosophy of visual perception and cognition. Gary Hatfield's essays address fundamental questions concerning, in Part I, the psychological processes underlying spatial perception and perception of objects; in Part II, psychological theories and metaphysical controversies about color perception and qualia; and, in Part III, the history and philosophy of theories of vision, including methodological controversies surrounding introspection and involving the relations between psychology and the fields of neuroscience and cognitive science. An introductory chapter provides a unified overview; an extensive reference list rounds out the volume.

Most of the time people perceive using multiple senses. Out walking, we see colors and motion, hear chatter and footsteps, smell petrichor after rain, feel a breeze or the brush of a shoulder. We use our senses together to navigate and learn about the world. In spite of this, scientists and philosophers alike have merely focused on one sense at a time. Nearly every theory of perception is unisensory. This book instead offers a revisionist multisensory philosophy of perception. Casey O'Callaghan considers how our senses work together, in contrast with how they work separately and independently, and how one sense can impact another, leading to surprising perceptual illusions. The joint use of multiple senses, he argues, enables novel forms of perception and experience, such as multisensory rhythms, motions, and flavors that enrich aesthetic experiences of music, dance, and gustatory pleasure.

In the last decade, there has been a tremendous surge of research on the mechanisms of human action. This volume brings together this new knowledge in a single, concise source, covering most if not all of the basic questions regarding human action: what are the mechanisms by which action plans are acquired, mentally represented, activated, selected, and expressed? The chapters provide up-to-date summaries of the published research on this question, with an emphasis on underlying mechanisms. This 'bible' of action research brings together the current thinking of eminent researchers in the domains of motor control, behavioural and cognitive neuroscience, psycholinguistics, biology, as well as cognitive, developmental, social, and motivational psychology. It represents a determined multidisciplinary effort, spanning across various areas of science as well as national boundaries.

Since antiquity, people have searched for a way to understand the colors we see--what they are, how many there are, and how they can be systematically identified and arranged in some kind of order. How to order colors is not merely a philosophical question, it also has many practical applications in art, design, and commerce. Our intense interest in color and its myriad practical applications have led people throughout history to develop many systems to characterize and order it. The number of color order systems developed throughout history is unknown but ranges in the hundreds. Many are no longer used, but continue to be of historical interest. Despite wrong turns and slow progress, our understanding of color and its order has improved steadily. Although full understanding continues to elude us, it seems clear that it will ultimately come from research in neurobiology, perception and consciousness. Color Ordered is a comprehensive, in-depth compendium of over 170 systems, dating from antiquity to the present. In it, Rolf Kuehni and Andreas Schwarz present a history and categorization of color systems, describe each one using original figures and schematic drawings, and provide a broad review of the underlying theory. Included are a brief overview of color vision and a synthesis of the various systems. This volume is a unique and valuable resource for researchers in color vision, and visual perception, as well as for neuroscientists, art historians, artists, and designers.

First published in 1995, 'The Visual Brain in Action' remains a seminal publication in the cognitive sciences. It presents a model for understanding the visual processing underlying perception and action, proposing a broad distinction within the brain between two kinds of vision: conscious perception and unconscious 'online' vision. It argues that each kind of vision can occur quasi-independently of the other, and is separately handled by a quite different processing system. In the 11 years since publication, the book has provoked considerable interest and debate - throughout both cognitive neuroscience and philosophy, while the field has continued to flourish and develop.
For this new edition, the text from the original edition has been left untouched, standing as a coherent statement of the authors' position. However, a very substantial epilogue has been added to the book in which Milner and Goodale review some of the key developments that support or challenge the views that were put forward in the first edition. The new chapter summarizes developments in various relevant areas of psychology, neuroscience and behaviour. It notably supplements the main text by updating the reader on the contributions that have emerged from the use of functional neuroimaging, which was in its infancy when the first edition was written. Neuroimaging, and functional MRI in particular, has revolutionized the field over the past 11 years by allowing investigators to plot in detail the patterns of activity within the visual brains of behaving and perceiving humans. The authors show how its use now allows scientists to test and confirm their proposals, based as they then were largely on evidence accruedfrom primate neuroscience in conjunction with studies of neurological patients.

Graphs have become a fixture of everyday life, used in scientific and business publications, in magazines and newspapers, on television, on billboards, and even on cereal boxes. Nonetheless, surprisingly few graphs communicate effectively, and most graphs fail because they do not take into account the goals, needs, and abilities of the viewers. In raph Design for Eye and Mind, Stephen Kosslyn addresses these problems by presenting eight psychological principles for constructing effective graphs. Each principle is solidly rooted both in the scientific literature on how we perceive and comprehend graphs and in general facts about how our eyes and brains process visual information. Kosslyn then uses these eight psychological principles as the basis for hundreds of specific recommendations that serve as a concrete, step-by-step guide to deciding whether a graph is an appropriate display to use, choosing the correct type of graph for a specific type of data and message, and then constructing graphs that will be understood at a glance. Kosslyn also includes a complete review of the scientific literature on graph perception and comprehension, and appendices that provide a quick tutorial on basic statistics and a checklist for evaluating computer-graphics programs. Graph Design for Eye and Mind is an invaluable reference for anyone who uses visual displays to convey information in the sciences, humanities, and businesses such as finance, marketing, and advertising.

Whether it was the demands of life, leisure, or a combination of both that forced our hands, we have developed a myriad of artefacts--maps, notes, descriptions, diagrams, flow-charts, photographs, paintings, and prints--that stand for other things. Most agree that images and their close relatives are special because, in some sense, they look like what they are about. This simple claim is the starting point for most philosophical investigations into the nature of depiction. On Images argues that this starting point is fundamentally misguided. Whether a representation is an image depends not on how it is perceived but on how it relates to others within a system. This kind of approach, first championed by Nelson Goodman in his Languages of Art, has not found many supporters, in part because of weaknesses with Goodman's account. On Images shows that a properly crafted structural account of pictures has many advantages over the perceptual accounts that dominate the literature on this topic. In particular, it explains the close relationship between pictures, diagrams, graphs and other kinds of non-linguistic representation. It undermines the claim that pictures are essentially visual by showing that audio recordings, tactile line drawings, and other non-visual representations are pictorial. Also, by avoiding explaining images in terms of how we perceive them, this account sheds new light on why pictures seem so perceptually special in the first place. This discussion of picture perception recasts some old debates on the topic, suggests further lines of philosophical and empirical research, and ultimately leads to a new perspective on pictorial realism.

When we try to remember whether we left a window open or closed, do we actually see the window in our mind? If we do, does this mental image play a role in how we think? For almost a century, scientists have debated whether mental images play a functional role in cognition. In The Case for Mental Imagery, Stephen Kosslyn, William Thompson, and Giorgio Ganis present a complete and unified argument that mental images do depict information, and that these depictions do play a functional role in human cognition. They outline a specific theory of how depictive representations are used in information processing, and show how these representations arise from neural processes. To support this theory, they seamlessly weave together conceptual analyses and the many varied empirical findings from cognitive psychology and neuroscience. In doing so, they present the conceptual grounds for positing this type of internal representation and summarize and refute arguments to the contrary. Their argument also serves as a historical review of the imagery debate from its earliest inception to its most recent phases, and provides ample evidence that significant progress has been made in our understanding of mental imagery. In illustrating how scientists think about one of the most difficult problems in psychology and neuroscience, this book goes beyond the debate to explore the nature of cognition and to draw out implications for the study of consciousness. Student and professional researchers in vision science, cognitive psychology, philosophy, and neuroscience will find The Case for Mental Imagery to be an invaluable resource for understanding not only the imagery debate, but also and more broadly, thenature of thought, and how theory and research shape the evolution of scientific debates.

In the last few years there has been an explosion of philosophical interest in perception; after decades of neglect, it is now one of the most fertile areas for new work. Perceptual Experience presents new work by fifteen of the world's leading philosophers. All papers are written specially for this volume, and they cover a broad range of topics dealing with sensation and representation, consciousness and awareness, and the connections between perception and knowledge and between perception and action. This will be the book on the philosophy of perception, a fascinating resource for philosophers and psychologists.
Contributors include John Campbell, David J. Chalmers, Tim Crane, Fred Dretske, Tamar Szabo Gendler, Anil Gupta, John Hawthorne, Susan Hurley, Mark Johnston, Geoffrey Lee, Eric Lormand, M. G. F. Martin, Alva No, Jesse J. Prinz, Sydney Shoemaker, Susanna Siegel, and Michael Tye.

This book reviews the considerable body of research that has been done to evaluate the touch skills of blind people. With an emphasis on cognitive and neuroscientific approaches, it encompasses a wide-ranging discussion of the theoretical issues in the field of touch perception and blindness. The volume includes chapters on sensory aspects of touch, perception in blind individuals, multimodal relations and their implications for instruction and development, and new technology, including sensory aids and virtual touch. A distinctive feature of the book is the inclusion of the practical applications of research in this area. A significant characteristic of research on touch and imagery in congenitally blind individuals is that it speaks to the basic nature of spatial imagery and the importance and necessity -- or lack thereof -- of specific visual sensory experience for the acquisition of knowledge about space, spatial layout, and picture perception. As such, the book will not only appeal to researchers and professionals with an interest in touch and blindness, but also to a wider audience of cognitive psychologists and cognitive neuroscientists working in the field of perception.

Whether reading, looking at a picture, or driving, how is it that we know where to look next - how does the human visual system calculate where our gaze should be directed in order to achieve our cognitive aims? Of course, there is an interaction between the decisions about where we should look and about how long we should look there. However, our eyes do not just move randomly over the visual field - whether we are reading, driving, or solving a problem. There are systematic variations not only in the duration of each eye fixation, but also in what we are looking at. It is these variations in eye movements that can tell us much about the cognitive processes involved in the performance of these activities. Within reading research, great progress has already been made in understanding these processes and there are now a number of competing and well-formed models. In some other areas of perception, the development of formal theories and the search for critical evidence is less advanced. This book brings together leading vision scientists studying eye movements across a range of activities, such as reading, driving, computer activities, and chess. It provides groundbreaking new research that will help us understand how it is that we know where to move our eyes, and thereby better understand the cognitive processes underlying these activities.

This book presents a collection of essays honoring Professor Harry Heft, a leading figure in the field of ecological psychology, engaging critically with his work, thought and influence. Containing 12 chapters written by leading experts from philosophy and psychology, this text critically examines, questions, and expands on crucial ideas from Heft concerning the nature of cognition, its relationship to the body and the environment (including the social and cultural environment), and the main philosophical assumptions underlying the scientific study of psychological functions. It elaborates on the notion of affordance, and its connection to social, cultural and developmental psychology, as well as on the application of Roger Barker's eco-behavioral program for current psychology and cognitive science. The book includes an extensive interview with Heft, where he reflects about the history, challenges and future of ecological psychology. Finally, it presents a chapter written by Heft, that offers a systematic response to the critical feedback. Given the increasing popularity of ecological psychology and the highly influential work of Harry Heft in related areas such as developmental, social and cultural psychology, and philosophy, this book will appeal to all those interested in the cognitive sciences from a scientific and philosophical perspective. It is also a must read for students of psychology, philosophy, and cognitive science departments.

Colour has long been a source of fascination to both scientists and philosophers. In one sense, colours are in the mind of the beholder, in another sense they belong to the external world. Colours appear to lie on the boundary where we have divided the world into 'objective' and 'subjective' events. They represent, more than any other attribute of our visual experience, a place where both physical and mental properties are interwoven in an intimate and enigmatic way.

The last few decades have brought fascinating changes in the way that we think about 'colour' and the role 'colour' plays in our perceptual architecture. In Colour: Mind and the Physical World, leading scholars from cognitive psychology, philosophy, neurophysiology, and computational vision provide an overview of the contemporary developments in our understanding of colours and of the relationship between the 'mental' and the 'physical'. With each chapter followed by critical commentaries, the volume presents a lively and accessible picture of the intellectual traditions which have shaped research into colour perception.

Written in a non-technical style and accessible to an interdisciplinary audience, the book will provide an invaluable resource for researchers in colour perception and the cognitive sciences.

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 skil 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 that 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.

For thousands of years, one scientific puzzle has fascinated and perplexed the greatest philosophers, mathematicians, physicists, and psychologists - why do the moon and sun appear so much larger on the horizon than when high up in the sky? Now, two leading psychologists have provided a compelling account of this fascinating illusion. Taking us through the history, the characters involved, the attempts made to explain the illusion, through to modern day studies of visual perception, the book is the most comprehensive account of this puzzle so far. This is a work which will remain, for some time to come, the definitive book on a mystery that has fascinated and tested the greatest minds throughout the ages. Accessibly written, it will appeal to readers of popular science, along with those within the disciplines of psychology, mathematics, astronomy, and philosophy, from undergraduate upwards.

Features first hand accounts of the development of Ecological Psychology. Reflects on how the field has changed since the original interviews. Provides an interdisciplinary overview of Ecological Psychology and will appeal to researchers of this field, as well as those studying the History of Psychology and Cognitive Science more broadly.