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In the Mind's Eye
Author List. Introduction. Section I: Selected Papers of Julian Hochberg. 1. Hochberg, C.B. & Hochberg, J. (1952). Familiar size and the perception of depth. Journal of Psychology, 34, 107-114. 2. Hochberg, J. & McAlister, E. (1953). A quantitative approach to figural goodness. Journal of Experimental Psychology, 46, 361-364. 3. Hochberg, J. & Beck, J. (1954). Apparent spatial arrangement and perceived brightness. Journal of Experimental Psychology, 47, 263-266. 4. Hochberg, J. (1956). Perception: Toward the recovery of a definition. Psychological Review, 63, 400-405. 5. Hochberg, J. (1962).
Image Evolution
The history of images can be described as a history of technology and mediality. The development of images is deeply rooted in the potentials of media technologies and the numerous human inventions in the range of traditional craftsmanship, engineering science, computer science, and art and design. The factual embedding of images in the historical-technological processes constitutes a complex structure of an autonomous "image evolution" that must be highlighted, characterized and analyzed by the interdisciplinary academic discourses that are related to the functions and structures of visuality, pictoriality, and forms of multi-sensoric representations. The chosen term "evolution" is deliberately indicating structural laws that underlie historical events. These laws are intentional and logical processes of a historical and technological interdependency. In this interdependency, technology is evolving out of its inherent structures and additionally embedded in anthropological conditions and sociocultural dynamics. In this context, we should work with the concept of an "image evolution".
A Behaviorist Looks at Form Recognition
For many years behaviorism was criticized because it rejected the study of perception. This rejection was based on the extreme view that percepts were internal subjective experiences and thus not subject to examination. This book argues that this logic is incorrect and shows how visual perception, particularized in the study of form recognition, can be carried out from the behavioral point of view if certain constraints and limitations are understood and accepted. The book discusses the idea of representation of forms, considers the major historical neural, psychological, and computational theories of form recognition, and then concludes by presenting a modern approach to the problem. In this book, William Uttal continues his critical analysis of the foundations of modern psychology. He is particularly concerned with the logical and conceptual foundations of visual perception and uses form recognition as a vehicle to rationalize the discrepancies between classic behaviorism and what we now appreciate are legitimate research areas.
Cognitive Ecology
Cognitive Ecology identifies the richness of input to our sensory evaluations, from our cultural heritage and philosophies of aesthetics to perceptual cognition and judgment. Integrating the arts, humanities, and sciences, Cognitive Ecology investigates the relationship of perception and cognition to wider issues of how science is conducted, and how the questions we ask about perception influence the answers we find. Part One discusses how issues of the human mind are inseparable from the culture from which the investigations arise, how mind and environment co-define experience and actions, and how culture otherwise influences cognitive function. Part Two outlines how philosophical themes of aesthetics have guided psychological research, and discuss the physical and aesthetic perception of music, film, and art. Part Three presents an overview of how the senses interact for sensory evaluation.
Point of View in the Cinema
Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration.
Post-Theory
Since the 1970s, the academic study of film has been dominated by Structuralist Marxism, varieties of cultural theory, and the psychoanalytic ideas of Freud and Lacan. With Post-Theory, David Bordwell and Noel Carroll have opened the floor to other voices challenging the prevailing practices of film scholarship. Addressing topics as diverse as film scores, national film industries, and audience response. Post-Theory offers fresh directions for understanding film.
Expressing Oneself / Expressing One's Self
Unlike any book before it, this volume embodies the state-of-the-art regarding the experimental study of human communication, by bringing together cutting edge findings from psycholinguistics, communication, cognition, neuroscience, language, and identity. Whether linguistic or nonverbal, communication poses unique computational challenges that reveal secrets of the mind/brain and social cognition unlike anything else. This volume is both a stimulating journey for the general language/communication reader, as well as a great research tool for graduate students, advanced undergraduate students, and investigators.
Pictures and their Use in Communication
Ours is the age of the picture. Pictures abound in our newspapers and magazines, in storybooks and on the glossy pages of instruction manuals. We find them on billboards and postage stamps, on the television screen and in the cinema. And in all of these cases pictures inform us: they explain, they clarify, they elucidate - and at times, too, they entertain and delight us. Images on the television screen have all but replaced the printed word as a source of information about the world; and nowadays, too, picture books and comic strips are consulted much more readily, and with much less intellectual effort, than the printed word. There can be little doubt but that pictures have come to play a very important role in communication. It strikes me as odd that, in what is nothing less than a visual age, philosophers have had so little to say about the visual image and its use in communication. Hardly anything has been done to explain the way in which pictures are used to inform us; the way in which they influence our thinking, our attitudes and our perception of the world. My aim in this work is to fill this gap, and in so doing to provide a viable account of pictorial communication.
Video Displays, Work, and Vision
Along with the widespread use of computers have come growing fears that working in front of video display terminals (VDTs) can irritate and even damage the eyes. Separating scientific fact from popular opinion, this report takes a critical look at the link between VDT use and eye discomfort and disease as well as at changes in visual performance and oculomotor function. Drawing on information from ergonomics, illuminating engineering, and industrial and organizational psychology, the report gives practical advice on optimal workstation design to improve the comfort, performance, and job satisfaction of VDT users.
Cinema and Language Loss
Cinema and Language Loss provides the first sustained exploration of the relationship between linguistic displacement and visuality in the filmic realm, examining in depth both its formal expressions and theoretical implications. In tracing the encounter between cinema and language loss across a wide range of films - from Billy Wilder's Sunset Boulevard to Chantal Akerman's News from Home to Michael Haneke's Caché - Mamula reevaluates the role of displacement in postwar Western film and makes an original contribution to film theory and philosophy based on a reconsideration of the place of language in our experience and understanding of cinema.
