Visible Figure and Reid's Theory of Visual Perception

The bulk of our information on Democritus' theory of visual perception comes from Theophrastus' De Sensibus. The claim is made that Theophrastus' account provides the grounds for attributing to Democritus a theory of visual perception which involves the following: a thin atomic 'image' leaves the physical object on its way toward the pet cipient; at the same time a 'visual ray' leaves the eye of the percipient toward the physical object; the 'image' and the 'ray' meet in midair, compress, and impress the air between them to form a new atomic entity which then travels to the eye of the pei cipient, and is thus seen by him. One might note that the presence of air midway between the object and the percipient is essential to the operation of this process. Ak problem arises from the fact that Aristotle cites Democritus as claiming that a person could see an insect on the vault of the heavens accurately, if there were void in between the insect and the viewer et ykvovto xevv o'0 s u'.' If we take the word xtv6v strictly and naturally to exclude air, then Aristotle's account quite clearly implies that air intervening between the physical object and the percipient is not required by Democritus' theory. Thus, an apparent contradiction arises between these reports: Theophrastus seems to say that such air is essential, while Aristotle implies that it is not. Various devices have been adopted to cope with this apparent contradiction. One such device is to ignore it, to cite both accounts without even noting the apparent contradiction or explaining what is involved.2 As far as I know, the only serious attempt to leconcile these differences is the positing of two theories of vision for Democritus

Bu makalede, James J. Gibson'ın görsel algı kuramının bedenlenmiş biliş kavramı bağlamında bir tartışması sunulmaktadır. Gibson'ın görsel algı kuramı, ilk olarak, Clark (348) tarafından öne sürülen basit bedenleme ve radikal bedenlenme ayrımı çerçevesinde tartışılmıştır. Daha sonra, Gibson'ın kuramı, Sharpiro tarafından önerilen kavramlaştırma, değiştirme ve oluşturma kategorileri bağlamında tartışılmıştır (Embodied Cognition: New… 4). Ardından Gibson'ın kuramı, bilişsel gelişime dinamik yaklaşım (Thelen ve diğerleri 1), algıya duyusal motor yaklaşım (O'Regan ve Noë, “A sensory motor account…” 1; O'Regan ve Noë, “What is it like…” 1) ve bilişe enaktif yaklaşım (Varela ve diğerleri 1) gibi bedenlenmeyi savunan diğer çalışmalar ile karşılaştırılmış; Gibson'ın kuramı ve bu çalışmalar arasındaki benzerlikler ve farklılıklar vurgulanmıştır. Makalenin sonunda bedenlenmenin Gibson'ın kuramındaki anlamına yönelik bir özet sunulmuştur.

Etkilesimli ogrenme ortamlari, cok yonlu ogretim ve etkilesim olanaklarina sahip, ogrencilerin ogrenmelerini yonlendirebildigi, zaman ve mekandan bagimsiz ortamlaridir. Etkilesimli ogretim ortamlarinin niteligini olumlu yonde etkileyen etmenler arasinda ogrencilerin algilama duzeylerine uygunlugu ve tasarimin ogrenci uzerinde olusturdugu algisal etki yer almaktadir. Bu nedenle etkilesimli ogretim ortamlarinin tasarlanmasinda kimi gorsel algi kuramlarinin ise kosulmasi onem tasimaktadir. Bu baglamda arastirmada, algilama surecinde tasarimin gelistirilmesine dogrudan etki edebilecek algi kuramlarindan Gestalt Gorsel Algi Kurami, Olasilikli Ogreti Kurami, Bilisimsel Algi Kurami, Noropsikolojik Algi Kurami, Yapilandirmaci Gorsel Algi Kurami ve Dogrudan Algi Kurami etkilesimli ortam tasarimina yansimalari baglaminda incelenmis ve bu yansimalara dayali bir etkilesimli ogretim ortami tasarlanmistir. Etkilesimli ogretim ortami, ortaokul ikinci sinif ogrencilerinin 'Isik ve Ses' unitesini ogrenmelerine yardimci olmasi amaciyla tasarlanmistir. Nitel arastirma yonteminin kullanildigi arastirmada etkilesimli ogretim ortamini kullanan ogrencilerin gorusleri alinmistir. Ogrenciler gorsel algi kuramlarina dayali olarak gelistirilen etkilesimli ogretim ortamini faydali ve guduleyici bulmuslardir.

This chapter considers a few ingredients that are arguably central to the common sense philosophy, and indicates some consequent problems concerning the question of membership of the Scottish school, starting by addressing the work by Thomas Reid. Reid does not undertake a definition of ‘mind’, but he says enough to indicate what he is writing about: ‘By the mind of a man, we understand that in him which thinks, remembers, reasons, wills’. A brief consideration of the point that the theorists of ideas appropriated terms in common currency and put those terms to uncommon use is presented. The chapter then reviews Reid's theory of perception, dealing first with perception in general and then turning to visual perception in order to note a major achievement of his. It finally reports the contributions made by Henry Home, George Campbell, Dugald Stewart and Sir William Hamilton.

In search of a genuine history of visual perception (on David c. Lindberg's John Pecham and the science of optics; NICHOLAS PASTORE'S Selective History of Theories of Visual Perception: 1650–1950; and WILLEM VAN HOORN'S As Images Unwind. Ancient and Modern Theories of Visual Perception

This chapter begins by outlining the main goal of this book, which is to determine the content of Reid's theory of perception. This theory includes his analyses of: the intentionality of cognition, the senses themselves, sensory experience, the nature of secondary and primary qualities, and the formation of conceptual content in perceptual belief. Reed's philosophical development is then discussed. An overview of the subsequent chapters is presented.

The paper examines the main theories of visual perception in the context of their possible relevance to the communication of construction industry concepts related to the process of production. This context is suggested as being primarily concerned with stationary, as opposed to mobile, visual stimuli. It is therefore concluded that the ecological theory of perception is of little relevance to this work. The theories of physiological and psychological perception present areas worthy of further research.

The purpose of this study was to develop a scale which could be used to evaluate instructional website designs from the perspective of visual perception theories. For this purpose, a scale of 50 items was developed based on the literature and expert opinions. Visual perception theories such as Gestalt Theory, Brunswick’s Probabilistic Functionalism, Neuropsychological Theory, Theory of Direct Perception and Ecological Optics, Constructivist Visual Perception Theory and Computational Approach to Visual Perception provided a basis for the development of scale items; also a focus group discussion was employed. 196 students from the Computer Education and Instructional Technologies (CEIT) Department filled the scale. The exploratory factor analysis (EFA) was applied along with the principal component method on data. Following the factor analysis, a single factor scale was developed. The loading of each item in the scale was found to be over .30. The internal consistency coefficient of the overall scale was high (α=.961). The corrected item-total correlation coefficient of the items was .301 and over. Through factor analysis, it was revealed that the scale had a single-factor structure with an explained variance of 35%. At the end of the study, several recommendations were presented for future studies.

Information Visualization (IV) is a current field that has the potential to develop methods of accessing, processing and managing of information (Chen & Czerwinski, 2000). IV applications are developed as a learning tool due to the technique of IV being capable of improving the understanding process through the use of visuals. In addition, IV applications are also able to manage the several data sources and complex concepts in learning activities. IV techniques are useful for information acquisition and learning activities. Based on the theory of visual perception, this study produces a design of IV application. The design supports a particular understanding of the visual accordance with data of the hadith environment. Balance to the visual design can build a good human perceptual system to understand the concepts and interpret information more easily and accurately. The findings of the study show the good interpretation and the high score of respondents’ achievement toward using the application. This result indicates that the contribution of visual perception theory as the design of the IV application can create a better visual perception and enhance the quality and quantity of the information.

Some recent explanatory models in perceptual psychology of the relation between stimulus input and perceptual processes are analyzed. It is suggested that the use of representational models logically entails an epistemological dualism between perceiver and perceived. The paper concludes by suggesting that dualistic models in perceptual theory are conceptually avoidable once it is recognized that these models are simply methodological postulates rather than necessary presuppositions.

Chinese calligraphy, inscribed in the UNESCO Intangible Cultural Heritage list, is one of China’s most significant contributions to world civilization. It is possible to uncover the emotional expressions embedded in the creator’s writing process by capturing the visual perception of calligraphy. This provides a valuable approach for understanding consumer preferences in the design of cultural and creative products. Based on these insights, designing products can not only enhance their cultural attributes but also position them as new mediums for promoting Chinese calligraphy.This research, grounded in the theories of visual perception and emotional expression, focuses on the character "永" as the central theme. It uses four visual styles from prominent Chinese calligraphers—Wang Xizhi, Su Shi, Huang Tingjian, and Mi Fu—known for their distinctive xingshu (semi-cursive script). These styles serve as prototype samples for analysis. By employing affective engineering measurement methods, the study quantifies consumer preferences and emotional responses to these calligraphic styles, providing an empirical analysis of how different calligraphic forms influence consumers’ emotional preferences.The results of this study will offer valuable insights for cultural and creative product designers, helping them understand individualised consumer preferences from the perspective of calligraphic style. This understanding will enable designers to use new technological approaches to create culturally relevant and aesthetically appealing products. By integrating these insights into product design, the study aims to advance the precise design of cultural products and promote Chinese calligraphy, thereby enhancing its cultural significance through modern design practices.

Perceptual phenomena and their interpretations have fashioned the course of psychology. This article surveys how theories of visual perception and methodologies have developed during the lifetime of the British Psychological Society. The experimental study of vision was instigated by British natural philosophers in the early nineteenth century but this impetus was not maintained thereafter. Not until the 1930s and 1940s did research on perception resume in earnest within British universities. The adoption of concepts (such as schema) potentially grounded in neural organization, particularly by Bartlett and Craik, accelerated experimental, theoretical and applied vision research. From mid-century the influence of information processing models of perception became increasingly dominant, and they were often integrated with the rapidly expanding understanding of neurophysiological underpinnings. The epitome of these developments was Marr's model of vision which, in our view, marked the start of the modern era of vision research. Computers have transformed the nature of stimulus control and response measurement in perceptual experiments. More naturalistic stimuli can be presented and manipulated, and complex behavioural responses, such as patterns of eye movements, fractionated. Non-invasive recording of brain activity to visual stimulation has similarly been transformed with a variety of methods for imaging brain activity. Neuroimaging has been applied to localizing perceptual and cognitive functions and in studying patients with known deficits in visual recognition. However, the eagerness with which the computer has been adopted by perceptual psychologists is likely to be tempered by a growing awareness of the differences between viewing scenes and simulations of them.

The well-known and undeniably formative relationship between John Smibert, colonial America’s first academically trained portrait painter, and George Berkeley, the eminent immaterialist philosopher of empiricism, has long puzzled scholars. Whereas most research has attempted to define their association by focusing on Smibert’s celebrated painting The Bermuda Group, this article argues that two highly enigmatic and potentially satirical paintings by Smibert—portraits long ago entitled Self-portrait, no. 1 and Self-portrait, no. 2—better clarify the intellectual relationship between the two men. Comparing these two paintings reveals that many of their otherwise conventional elements are deliberately opposed—from their sitters’ attire and gestures to their virtual spaces and formats. These oppositions are interpreted here as Smibert’s artistic engagement with the conflict between his training in the painterly depiction of the third dimension and Berkeley’s theory of visual perception.

In the context of this book, adaptation is taken to mean a feature of a system aimed at achieving the best possible performance, when mathematical models of the environment and the system itself are not fully available. This has applications ranging from theories of visual perception and the processing of information, to the more technical problems of friction compensation and adaptive classification of signals in fixed-weight recurrent neural networks. Largely devoted to the problems of adaptive regulation, tracking and identification, this book presents a unifying system-theoretic view on the problem of adaptation in dynamical systems. Special attention is given to systems with nonlinearly parameterized models of uncertainty. Concepts, methods and algorithms given in the text can be successfully employed in wider areas of science and technology. The detailed examples and background information make this book suitable for a wide range of researchers and graduates in cybernetics, mathematical modelling and neuroscience.

Some final remarks on theories of visual perception