Vision And Visual Perception

Visual Perception explores fundamental topics underlying the field of visual perception, including the perception of brightness and color, the physics of light, and the optics of the eye. Although the text leans heavily on physical and physiological concepts, explanations of the relevant physics and physiology are considered. This book is organized into 16 chapters and begins with an overview of the relationship between information assimilation and the physiology of the visual system based on data gathered both in physiological and perceptual experiments. More specifically, this text discusses the nature of the human perceptual system in terms of the kinds of information that are assimilated from the world, and how this selection of information is governed by the structure of receptors and the neural circuits that are connected to them. The relationships between symbols and their corresponding physical and physiological variables are also examined. Finally, the book addresses the presence of strong lateral inhibition in the visual system and how it fits the concept of evolution. This book is aimed at undergraduate and graduate students, regardless of their academic backgrounds.

If you've ever been tricked by an optical illusion, you'll have some idea about just how clever the relationship between your eyes and your brain is. This book leads one through the intricacies of the subject and demystifying how we see.

This is the story of a hugely successful and enjoyable 25-year collaboration between two scientists who set out to learn how the brain deals with the signals it receives from the two eyes. Their work opened up a new area of brain research that led to their receiving the Nobel Prize in 1981. The book contains their major papers from 1959 to 1981, each preceded and followed by comments telling how and why the authors went about the study, how the work was received, and what has happened since. It begins with short autobiographies of both men, and describes the state of the field when they started. It is intended not only for neurobiologists, but for anyone interested in how the brain works-biologists, psychologists, philosophers, physicists, historians of science, and students at all levels from high school to graduate level.

Vision is our most dominant sense, from which we derive most of our information about the world. From the light that enters the eye and the processing in the brain that follows we can sense where things are, how they move and what they are. The first edition of Visual Perception took a refreshingly different approach to perception, starting from the function that vision serves for an active observer in a three-dimensional environment. This fully revised and expanded new edition continues this approach in contrast to the traditional textbook treatment of vision as a catalogue of phenomena. Following a general introduction to the main theoretical approaches, the authors discuss the historical basis of our current knowledge. Placing the study of vision in its historical context, they look at how our ideas have been shaped by art, optics, biology and philosophy as well as psychology. Visual optics and the neurophysiology of vision are also described. The core of the book covers the perception of location, motion and object recognition. There is a new chapter on representation and vision, including a section on the perception of computer generated images. This readable, accessible and truly relevant introduction to the world of perception aims to elicit both independent thought and further study. It will be welcomed by students of visual perception and those with a general interest in the mysteries of vision.

Vision is crucial for the survival of all animals. However, as this book shows, its importance does not simply lie in visual perception, but is, rather, deeply rooted in human physiology, psychology and culture. For instance, conceptual metaphors often involve vision, such as “Seeing is Touching” and “Eyes are Limbs”, among others. However, this Anglo-centric linguistic view belies the fact that vision is not a universally-preferred source for metaphor, and less studied languages spoken in the four corners of the world can present cases that are unfamiliar to those who are only acquainted with Indo-European languages and cultures. In fact, other types of perception such as hearing are often preferred as a source of comprehension in a number of languages. This volume studies various issues concerning vision both synchronically and diachronically. Its discussion involves specialists from different disciplines, ranging from cognitive science to literary scholarship. It also covers a wide range of geographical regions, such as Africa and Asia. As such, this volume will serve to shed light on the integration of disciplines concerning vision.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

The philosophy of perception is a microcosm of the metaphysics of mind. Its central problems—What is perception? What is the nature of perceptual consciousness? How can one fit an account of perceptual experience into a broader account of the nature of the mind and the world?—are at the heart of metaphysics. Rather than try to cover all of the many strands in the philosophy of perception, this book focuses on a particular orthodoxy about the nature of visual perception. The central problem for visual science has been to explain how the brain bridges the gap between what is given to the visual system and what is actually experienced by the perceiver. The orthodox view of perception is that it is a process whereby the brain, or a dedicated subsystem of the brain, builds up representations of relevant figures of the environment on the basis of information encoded by the sensory receptors. Most adherents of the orthodox view also believe that for every conscious perceptual state of the subject, there is a particular set of neurons whose activities are sufficient for the occurrence of that state. Some of the essays in this book defend the orthodoxy; most criticize it; and some propose alternatives to it. Many of the essays are classics. Contributors G.E.M. Anscombe, Dana Ballard, Daniel Dennett, Fred Dretske, Jerry Fodor, H.P. Grice, David Marr, Maurice Merleau-Ponty, Zenon Pylyshyn, Paul Snowdon, and P.F. Strawson