A collection in which the contributors draw on diverse areas of cognitive science to examine the difference between actual and presumed visual cognition.
According to Putnam to talk of “facts” without specifying the language to be used is to talk of nothing; “object” itself has many uses and as we creatively invent new uses of words “we find that we can speak of ‘objects’that were not ‘values of any variable’in 1 any language we previously spoke” . The notion of object becomes, then, like the notion of reference, a sort of open land, an unknown territory. The exploration of this land - pears to be constrained by use and invention. But, we may wonder, is it possible to guide invention and control use? In what way, in particular, is it possible, at the level of na- ral language, to link together program expressions and natural evolution? To give an answer to these onerous questions we should immediately point out that cognition (as well as natural language) has to be considered first of all as a peculiar fu- tion of active biosystems and that it results from complex interactions between the - ganism and its surroundings. “In the moment an organism perceives an object of wh- ever kind, it immediately begins to ‘interpret’this object in order to react properly to it . . . It is not necessary for the monkey to perceive the tree in itself. . . What counts is sur- 2 vival” .
Insights -- like Darwin's understanding of the way evolution actually works, and Watson and Crick's breakthrough discoveries about the structure of DNA -- can change the world. We also need insights into the everyday things that frustrate and confuse us so that we can more effectively solve problems and get things done. Yet we know very little about when, why, or how insights are formed -- or what blocks them. In Seeing What Others Don't, renowned cognitive psychologist Gary Klein unravels the mystery. Klein is a keen observer of people in their natural settings -- scientists, businesspeople, firefighters, police officers, soldiers, family members, friends, himself -- and uses a marvelous variety of stories to illuminate his research into what insights are and how they happen. What, for example, enabled Harry Markopolos to put the finger on Bernie Madoff? How did Dr. Michael Gottlieb make the connections between different patients that allowed him to publish the first announcement of the AIDS epidemic? What did Admiral Yamamoto see (and what did the Americans miss) in a 1940 British attack on the Italian fleet that enabled him to develop the strategy of attack at Pearl Harbor? How did a "smokejumper" see that setting another fire would save his life, while those who ignored his insight perished? How did Martin Chalfie come up with a million-dollar idea (and a Nobel Prize) for a natural flashlight that enabled researchers to look inside living organisms to watch biological processes in action? Klein also dissects impediments to insight, such as when organizations claim to value employee creativity and to encourage breakthroughs but in reality block disruptive ideas and prioritize avoidance of mistakes. Or when information technology systems are "dumb by design" and block potential discoveries. Both scientifically sophisticated and fun to read, Seeing What Others Don't shows that insight is not just a "eureka!" moment but a whole new way of understanding.
This book provides a comprehensive account of the intentionality of perceptual experience. With special emphasis on vision Searle explains how the raw phenomenology of perception sets the content and the conditions of satisfaction of experience. The central question concerns the relation between the subjective conscious perceptual field and the objective perceptual field. Everything in the objective field is either perceived or can be perceived. Nothing in the subjective field is perceived nor can be perceived precisely because the events in the subjective field consist of the perceivings, whether veridical or not, of the events in the objective field. Searle begins by criticizing the classical theories of perception and identifies a single fallacy, what he calls the Bad Argument, as the source of nearly all of the confusions in the history of the philosophy of perception. He next justifies the claim that perceptual experiences have presentational intentionality and shows how this justifies the direct realism of his account. In the central theoretical chapters, he shows how it is possible that the raw phenomenology must necessarily determine certain form of intentionality. Searle introduces, in detail, the distinction between different levels of perception from the basic level to the higher levels and shows the internal relation between the features of the experience and the states of affairs presented by the experience. The account applies not just to language possessing human beings but to infants and conscious animals. He also discusses how the account relates to certain traditional puzzles about spectrum inversion, color and size constancy and the brain-in-the-vat thought experiments. In the final chapters he explains and refutes Disjunctivist theories of perception, explains the role of unconscious perception, and concludes by discussing traditional problems of perception such as skepticism.
“A brilliantly inventive account of the evolution of consciousness, the best yet” (Paul Broks, Prospect). “Consciousness matters. Arguably it matters more than anything. The purpose of this book is to build towards an explanation of just what the matter is.” Nicholas Humphrey begins this compelling exploration of the biggest of big questions with a challenge to the reader, and himself. What’s involved in “seeing red”? What is it like for us to see someone else seeing something red? Seeing a red screen tells us a fact about something in the world. But it also creates a new fact—a sensation in each of our minds, the feeling of redness. And that’s the mystery. Conventional science so far hasn’t told us what conscious sensations are made of, or how we get access to them, or why we have them at all. From an evolutionary perspective, what’s the point of consciousness? Humphrey offers a daring and novel solution, arguing that sensations are not things that happen to us, they are things we do—originating in our primordial ancestors’ expressions of liking or disgust. Tracing the evolutionary trajectory through to human beings, he shows how this has led to sensations playing the key role in the human sense of Self. The Self, as we now know it from within, seems to have fascinating other-worldly properties. It leads us to believe in mind-body duality and the existence of a soul. And such beliefs—even if mistaken—can be highly adaptive, because they increase the value we place on our own and others’ lives. “Consciousness matters,” Humphrey concludes with striking paradox, “because it is its function to matter. It has been designed to create in human beings a Self whose life is worth pursuing.” Praise for Seeing Red “A wonderful amalgam of science, philosophy, and art. [Seeing Red] is based on deep knowledge of visual processing by the brain and poetic understanding of human experience. This is a remarkable achievement.” —Richard Gregory, Emeritus Professor of Neuropsychology, University of Bristol, and editor of The Oxford Companion to the Mind “A brief, brilliant, and wonderfully lucid contribution to consciousness studies. By combining empirical scientific method, evolutionary theory, and a sensitive appreciation of the arts, Nicholas Humphrey argues plausibly that the “hard problem” of consciousness—the difficulty of explaining the connection between the material brain and the phenomenon of individual selfhood—may itself be the answer to a bigger question: what makes us human?”—David Lodge, author of Consciousness and the Novel: Connected Essays “Illustrating his argument with the musings of poets and painters, Humphrey stylishly inspires curiosity about consciousness.” —Gilbert Taylor, Booklist
"This book is a field guide to the science classroom with authentic examples presented in written and video form. The authors offer six in-depth case studies of class discussion from grades 1 through 8, each keyed to clips of minimally edited in-the-classroom footage on the companion DVD-ROM."--BOOK JACKET.
Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks. The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.
2014 Outstanding Academic Title, Choice "What’s going on in this picture?" With this one question and a carefully chosen work of art, teachers can start their students down a path toward deeper learning and other skills now encouraged by the Common Core State Standards. The Visual Thinking Strategies (VTS) teaching method has been successfully implemented in schools, districts, and cultural institutions nationwide, including bilingual schools in California, West Orange Public Schools in New Jersey, and the San Francisco Museum of Modern Art. It provides for open-ended yet highly structured discussions of visual art, and significantly increases students’ critical thinking, language, and literacy skills along the way. Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary documents, and other visual artifacts—to increase a variety of skills, including writing, listening, and speaking, across a range of subjects. The book shows how VTS can be easily and effectively integrated into elementary classroom lessons in just ten hours of a school year to create learner-centered environments where students at all levels are involved in rich, absorbing discussions.