By Jan Lauwereyns
How will we achieve entry to objects as they're? even supposing we commonly take our self-made images to be veridical representations of truth, really we decide upon (albeit unwittingly) or build what we see. via activities of the eyes, the path of our gaze, we create which means. In Brain and the Gaze, Jan Lauwereyns deals a unique reformulation of notion and its neural underpinnings, targeting the energetic nature of belief. In his research of lively belief and its mind mechanisms, Lauwereyns deals the gaze because the critical paradigm for conception. In a substantially integrative account, grounded in neuroscience yet drawing on insights from philosophy and psychology, he discusses the dynamic and limited nature of belief; the advanced info processing on the point of the retina; the lively nature of imaginative and prescient; the extensive nature of representations; the gaze of others as visible stimulus; and the intentionality of imaginative and prescient and recognition. an interesting element of access to the cognitive neuroscience of conception, written for neuroscientists yet illuminated by way of insights from thinkers starting from William James to Slavoj Žižek, Brain and the Gaze will provide new impetus to analyze and thought within the box.
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Additional resources for Brain and the gaze : on the active boundaries of vision
I do not always agree. Sometimes I do. For research specifically targeting eye movements and visual perception, monkeys are the appropriate (nonhuman) animal model, because rats (the main alternative for this kind of electrophysiology) show limited visual processing abilities. Curiously, with respect to recording under unrestrained conditions, the work with monkeys seems to lag behind studies on spatial cognition with rats. We (I must plead guilty for a tiny bit of this rat work) are able to obtain compelling data about covert spatial coding with freely moving animals.
4 An approach to testing the informativeness of particular details. The same stimulus is shown with different areas masked. In the left panel, a roughly human face appears from behind the occlusions, which cover the eyes, nose, and mouth. In the panel on the right, there can be no doubt that the portrait is that of Leonardo da Vinci’s Mona Lisa, despite the fact that the number of masked pixels is exactly the same as in the left panel (the same three masks were simply shifted to the hair). 22 Chapter 1 The Intrinsic Attraction of News Skirting tautology again, we may think that, if information does indeed attract our gaze, it must be attractive.
Let me very briefly give the gist of how the subtraction method works. 2 provides a visual aid); there are two response buttons, one for your left index finger, one for your right index finger. Sometimes the word “RED” appears in the middle of the screen. ” The computer generates the words and clocks your response times (the time between the word appearing and you pressing the correct button). Now, there will be three tasks. Task 1: If you see a word, any color, press the left button. Task 2: If you see “RED,” not “GREEN,” press the left button (“GREEN” requires no response).