An Unavoidable Mind-Set Reversal: Consciousness in Vision Science.

In recent decades, the debate on consciousness has been conditioned by the idea of bottom-up emergence, which has influenced scientific research and raised a few obstacles to any attempt to bridge the explanatory gap. The analysis and explanation of vision conducted according to the accredited methodologies of scientific research in terms of physical stimuli, objectivity, methods, and explanation has encountered the resistance of subjective experience. Moreover, original Gestalt research into vision has generally been merged with cognitive neuroscience. Experimental phenomenology, building on the legacy of Gestalt psychology, has obtained new results in the fields of amodal contours and color stratifications, light perception, figurality, space, so-called perceptual illusions, and subjective space and time. Notwithstanding the outcomes and the impulse given to neuroscientific analyses, the research carried out around these phenomena has never directly confronted the issue of what it means to be conscious or, in other words, the nature of consciousness as self-referentiality. Research has tended to focus on the percept. Therefore, explaining the non-detachability of parts in subjective experience risks becoming a sort of impossible achievement, similar to that of Baron Munchausen, who succeeds in escaping unharmed from this quicksand by pulling himself out by his hair. This paper addresses how to analyze seeing as an undivided whole by discussing several basic dimensions of phenomenal consciousness on an experimental basis and suggesting an alternative way of escaping this quicksand. This mind-set reversal also sheds light on the organization and dependence relationships between phenomenology, psychophysics, and neuroscience.

The Perceptual Organisation of Visual Elements: Lines.

The aim of this study is to verify the conditions under which a series of visual stimuli (line segments) will be subjectively perceived as visual lines or surfaces employing four experiments. Two experiments were conducted with the method of subjective evaluation of the line segments, and the other two with the Osgood semantic differential. We analysed five variables (thickness, type, orientation, and colour) potentially responsible for the lines' categorisation. The four experiments gave similar results: higher importance of the variables thickness and type; general lower significance of the variable colour; and general insignificance of the variable orientation. Interestingly, for the variable type, straight lines are evaluated as surfaces more frequently than curved lines and perceived as geometrical, flat, hard, static, rough, sharp, bound, sour, frigid, masculine, cold and passive. Curved lines are prevalently evaluated as lines, and categorised as organic, rounded, soft, dynamic, fluffy, blunt, free, sweet, sensual, feminine, warm and active. These results highlight the specificity of perceptual characteristics for the considered variables and confirm the relevance of the characteristics of variables such as thickness and type.

Cross-Modal Perceptual Organization in Works of Art.

This study investigates the existence of cross-modal correspondences between a series of paintings by Kandinsky and a series of selections from Schönberg music. The experiment was conducted in two phases. In the first phase, by means of the Osgood semantic differential, the participants evaluated the perceptual characteristics first of visual stimuli (some pictures of Kandinsky's paintings, with varying perceptual characteristics and contents) and then of auditory stimuli (musical excerpts taken from the repertoire of Schönberg's piano works) relative to 11 pairs of adjectives tested on a continuous bipolar scale. In the second phase, participants were required to associate pictures and musical excerpts. The results of the semantic differential test show that certain paintings and musical excerpts were evaluated as semantically more similar, while others were evaluated as semantically more different. The results of the direct association between musical excerpts and paintings showed both attractions and repulsions among the stimuli. The overall results provide significant insights into the relationship between concrete and abstract concepts and into the process of perceptual grouping in cross-modal phenomena.

Naturalizing Phenomenology: A Must Have?

Quite a few cognitive scientists are working toward a naturalization of phenomenology. Looking more closely at the relevant literature, however, the 'naturalizing phenomenology' proposals show the presence of different conceptions, assumptions, and formalisms, further differentiated by different philosophical and/or scientific concerns. This paper shows that the original Husserlian stance is deeper, clearer and more advanced than most supposed contemporary improvements. The recent achievements of experimental phenomenology show how to 'naturalize' phenomenology without destroying the guiding assumptions of phenomenology. The requirements grounding the scientific explanation of subjective experience are discussed, such as the nature of the stimuli, their variables, and their manipulation by properly phenomenological methods.

Sensual Light? Subjective Dimensions of Ambient Illumination.

This work concerns the subjective impression of perceived illumination. The purpose of the study is to test attributes expressing qualitative experiences referring to ambient lighting that can be applied as descriptors. Seventy participants viewed an actual model room, with the fourth wall removed (viewing booth). Walls, floor, and ceiling were achromatic. Two achromatic cubes were placed inside the room: One was a reflectance increment to the walls, the other a decrement. The room was illuminated by two different light sources, Artificial Daylight (D65) or Tungsten Filament (F), the order of which was randomized across participants. The participants' task was to evaluate ambient illumination for each light source. A semantic differential method was employed with 27 pairs of adjectives on 1 to 7 rating scales, categorized in three groups: characteristics of atmosphere, time, and cross-modal. Only the ratings of nine pairs of adjectives were not influenced by the type of illumination. The most differentiated couples under different illuminants were hot/cold and modern/old, but large differences also appeared with the following couples: hard/soft, technological/primitive, summery/wintry, warm/cool, sensual/frigid, natural/artificial, and hospitable/inhospitable. The hypothesis that there would be consistency among the subjects in evaluations of the characteristics tested and that these would be differently perceived under different illuminants was confirmed. The results show that it is possible to identify subjective perceived illumination as a phenomenon endowed with specific filling-in qualities and that as a perceptual experience it can be categorized, with implications for application in architecture and design.

Naturally Biased Associations Between Music and Poetry.

The study analyzes the existence of naturally biased associations in the general population between a series of musical selections and a series of quatrains. Differently from other studies in the field, the association is tested between complex stimuli involving literary texts, which increases the load of the semantic factors. The stimuli were eight quatrains taken from the same poem and eight musical clips taken from a classical musical version of the poem. The experiment was conducted in two phases. First, the participants were asked to rate 10 couples of opposite adjectives on a continuous bipolar scale when reading a quatrain or when listening to a musical clip; then they were asked to associate a given clip directly with the quatrains in decreasing order. The results showed the existence of significant associations between the semantics of the quatrains and the musical selections. They also confirmed the correspondences experienced by the composer when writing the musical version of the poem. Connotative dimensions such as rough or smooth, distressing or serene, turbid or clear, and gloomy or bright, characterizing both the semantic and the auditory stimuli, may have played a role in the associations. The results also shed light on the accomplishment of the two diverse methodologies adopted in the two different phases of the test. Finally, the role of specific musical components and their combinations is likely to have played an important role in the associations, an aspect that shall be addressed in further studies.

The Tactile Dimensions of Abstract Paintings: A Cross-Modal Study.

In our research, we tested for the existence of cross-modal visual and tactile associations in the experience of abstract art. Specifically, we measured the association of 60 abstract paintings with four couples of antonyms related to texture, such as warm or cold, smooth or rough, lightweight or heavy, soft or hard, investigating if the different modality of presentation on a computer screen (color versions: natural colors, inverted colors, black and white) gave rise to different associations relative to the four couples of opponent qualities. Second, we tested whether there might be differences between the ratings of the paintings when they were presented as images on a computer screen versus in real life at the museum. The results confirmed that associations between visual and tactile experience with such complex stimuli exist. In the case of the couple warm or cold, a significant inversion of associated qualities occurs when the images are presented in inverted colors as opposed to natural colors; furthermore, when presented in black and white, warm evaluations are "cooled down," but cold evaluations remain the same. The degree of smoothness could be considered not associated with the color versions. When seen in black and white, both the mean softness and the mean lightweight-ness of the paintings were reduced; however, in the last case, this effect was more evident for the most lightweight pictures. There is only a slight difference between the two presentations of the paintings as images presented on a computer screen and seen in real life, relative to the warm or cold and soft or hard dimensions. Of the four opponent qualities, the three pairs warm or cold, lightweight or heavy, and soft or hard showed the most interesting results in relation to the cross-modal associations.

The Müller-Lyer illusion in the teleost fish Xenotoca eiseni.

In the Müller-Lyer illusion, human subjects usually see a line with two inducers at its ends facing outwards as longer than an identical line with inducers at its ends facing inwards. We investigate the tendency for fish to perceive, in suitable conditions, line length according to the Müller-Lyer illusion. Redtail splitfins (Xenotoca eiseni, family Goodeidae) were trained to discriminate between two lines of different length. After reaching the learning criterion, the fish performed test trials, in which they faced two lines (black or red) of identical length, differing only in the context in terms of arrangement of the inducers, which were positioned at the ends of the line, either inward, outward, or perpendicular. Fish chose the stimulus that appear to humans as either longer or shorter, in accordance with the prediction of the Müller-Lyer illusion, consistently with the condition of the training. These results show that redtail splitfins tend to be subject to this particular illusion. The results of the study are discussed with reference to similar studies concerning the same illusion as recently observed in fish. Contrasting results are presented. The significance of the results in light of their possible evolutionary implications is also discussed.

Chromatic Dimensions Earthy, Watery, Airy, and Fiery.

In our study, for a small number of antonyms, we investigate whether they are cross-modally or ideaesthetically related to the space of colors. We analyze the affinities of seven antonyms (cold-hot, dull-radiant, dead-vivid, soft-hard, transparent-chalky, dry-wet, and acid-treacly) and their intermediate connotations (cool-warm, matt-shiny, numb-lively, mellow-firm, semi-transparent-opaque, semi-dry-moist, and sour-sweet) as a function of color. We find that some antonyms relate to chromatic dimensions, others to achromatic ones. The cold-hot antonym proves to be the most salient dimension. The dry-wet dimension coincides with the cold-hot dimension, with dry corresponding to hot and wet to cold. The acid-treacly dimension proves to be transversal to the cold-hot dimension; hence, the pairs mutually span the chromatic domain. The cold-hot and acid-treacly antonyms perhaps recall Hering's opponent color system. The dull-radiant, transparent-chalky, and dead-vivid pairs depend little upon chromaticity. Of all seven antonyms, only the soft-hard one turns out to be independent of the chromatic structure.

Cross-modal associations between materic painting and classical Spanish music.

The study analyses the existence of cross-modal associations in the general population between a series of paintings and a series of clips of classical (guitar) music. Because of the complexity of the stimuli, the study differs from previous analyses conducted on the association between visual and auditory stimuli, which predominantly analyzed single tones and colors by means of psychophysical methods and forced choice responses. More recently, the relation between music and shape has been analyzed in terms of music visualization, or relatively to the role played by emotion in the association, and free response paradigms have also been accepted. In our study, in order to investigate what attributes may be responsible for the phenomenon of the association between visual and auditory stimuli, the clip/painting association was tested in two experiments: the first used the semantic differential on a unidimensional rating scale of adjectives; the second employed a specific methodology based on subjective perceptual judgments in first person account. Because of the complexity of the stimuli, it was decided to have the maximum possible uniformity of style, composition and musical color. The results show that multisensory features expressed by adjectives such as "quick," "agitated," and "strong," and their antonyms "slow," "calm," and "weak" characterized both the visual and auditory stimuli, and that they may have had a role in the associations. The results also suggest that the main perceptual features responsible for the clip/painting associations were hue, lightness, timbre, and musical tempo. Contrary to what was expected, the musical mode usually related to feelings of happiness (major mode), or to feelings of sadness (minor mode), and spatial orientation (vertical and horizontal) did not play a significant role in the association. The consistency of the associations was shown when evaluated on the whole sample, and after considering the different backgrounds and expertise of the subjects. No substantial difference was found between expert and non-expert subjects. The methods used in the experiment (semantic differential and subjective judgements in first person account) corroborated the interpretation of the results as associations due to patterns of qualitative similarity present in stimuli of different sensory modalities and experienced as such by the subjects. The main result of the study consists in showing the existence of cross-modal associations between highly complex stimuli; furthermore, the second experiment employed a specific methodology based on subjective perceptual judgments.

The Ebbinghaus illusion in a fish (Xenotoca eiseni).

The tendency of fish to perceive the Ebbinghaus illusion was investigated. Redtail splitfins (Xenotoca eiseni, family Goodeidae) were trained to discriminate between two disks of different sizes. Then, fish were presented with two disks of the same size surrounded by disks of large or small size (inducers) arranged to produce the impression (to a human observer) of two disks of different sizes (in the Ebbinghaus illusion, a central disk surrounded by small inducers appears bigger than an identical one surrounded by large inducers). Fish chose the stimulus that, on the basis of a perception of the Ebbinghaus illusion, appeared deceptively larger or smaller, consistent with the condition of training. These results demonstrate that redtail splitfins tend to perceive this particular illusion. The results are discussed with reference to other related illusions that have been recently observed to be experienced by fish (such as the Navon effect), and with regard to their possible evolutionary implications.

Hue Contrast and the Sense of Space.

Does human vision deploy a generic template for open landscapes that might fit the gist of current optical input? In an experiment, participants judged depth order in split-field images in which the two fuzzily delineated half-images were filled with different hues. For the majority of observers, we find a systematic dependence of depth order of these half-images on their hue and/or brightness difference. After minor cleaning of the data, we are left with two mutually well-separated clusters. Correlation with the statistical distribution of hue and brightness in generic "open landscape" photographs reveals that one cluster correlates with hue, the other with brightness. This suggests that human observers indeed at least partly rely on "generic landscape" templates in the psychogenesis of their visual awareness.

Multi-leveled objects: color as a case study.

The paper presents color as a case study for the analysis of phenomena that pertain to several levels of reality and are typically framed by different sciences and disciplines. Color, in fact, is studied by physics, biology, phenomenology, and esthetics, among others. Our thesis is that color is a different entity for each level of reality, and that for this reason color generates different observables in the epistemologies of the different sciences. By analyzing color as a paradigmatic case of an entity naturally spreading over different levels of reality, the paper raises the question as to whether making explicit the usually implicit ontological assumptions embedded within the different observables exploited by the different sciences may eventually clarify some of the difficulties of developing a comprehensive theory of color.

The semantics of biological forms.

This study analyses how certain qualitative perceptual appearances of biological forms are correlated with expressions of natural language. Making use of the Osgood semantic differential, we presented the subjects with 32 drawings of biological forms and a list of 10 pairs of connotative adjectives to be put in correlations with them merely by subjective judgments. The principal components analysis made it possible to group the semantics of forms according to two distinct axes of variability: harmony and dynamicity. Specifically, the nonspiculed, nonholed, and flat forms were perceived as harmonic and static; the rounded ones were harmonic and dynamic. The elongated forms were somewhat disharmonious and somewhat static. The results suggest the existence in the general population of a correspondence between perceptual and semantic processes, and of a nonsymbolic relation between visual forms and their adjectival expressions in natural language.

The hue of concepts.

The study shows a systematic naturally biased association between percepts and concepts. Specifically, it shows that a series of terms pertaining to an abstract semantic field (related to the frame of ethics in social behaviour) has a nonrandom, highly significant, association with colours (hues). This is the first time that consistent associations between abstract terms and colours have been reported in the general population. The main hypothesis, ie that there appear to be 'hues of concepts', was borne out by the results: the abstract terms considered were coloured with blue/green (ie cool) colours as well as their synonyms, while their antonyms were coloured with red/yellow (ie warm) colours. The association provides information about the nature of abstract concepts and their relationship with perception. It also sheds light on the interrelations among words in semantic domains that, to date, have been studied from only a computational viewpoint.

The hue of shapes.

This article presents an experimental study on the naturally biased association between shape and color. For each basic geometric shape studied, participants were asked to indicate the color perceived as most closely related to it, choosing from the Natural Color System Hue Circle. Results show that the choices of color for each shape were not random, that is, participants systematically established an association between shapes and colors when explicitly asked to choose the color that, in their view, without any presupposition, they saw as the most naturally related to a series of given shapes. The strongest relations were found between the triangle and yellows, and the circle and square with reds. By contrast, the parallelogram was connected particularly infrequently with yellows and the pyramid with reds. Correspondence analysis suggested that two main aspects determine these relationships, namely the "warmth" and degree of "natural lightness" of hues.

Morphological patterns and their colour.

This study analyzed qualitative aspects in perception, particularly the relationship between morphological aspects of biological shapes and colour. The experiment reported by the study assessed the functional relation between shape and colour and, in particular, the relations among the patterns of shapes appearing in perceptual configurations, as well as certain characteristics of colour. Participants were shown 32 natural images and were asked to match them with a colour. The results indicated that some figures were more frequently associated (positively or negatively) with some colours instead of others. Type of shape, texture, and three-dimensionality were important elements in the participants' choices. Rounded figures and non-holed figures had positive matches with red; elongated figures were associated with colours between blue and green; and holed figures showed positive matches with colours between green and yellow. Type of shape and texture also exhibited a relationship with the warmth of the colour.

Renata Calabresi: the experimental analysis of the present.

Between the 1920s and 1930s, Renata Calabresi conducted pioneering laboratory researches on the nature, extensity, and quality of the psychic present. Her analyses stemmed from the Central European tradition initiated by Stern, Brentano, Meinong, and Benussi. Her work has remained largely unrecognized, because of both the decline of the underlying theoretical paradigm, namely descriptive psychology, and the historical events of the time that swept aside the lives of those involved. This article presents her researches on the roots of phenomenal consciousness. She proved that in the subjective time there occur perceptual events that are at least partially independent from those of the time of objective sequences. Subjective and objective time, therefore, do not flow in unison, and the continuum of perceptive sequences has modalities of existence that differ from those of the continuum of physical sequences.

It is in the nature of the colours.

This study corroborates the view that perceptual categorization does not require linguistic categories, and simple tasks like ordering colours on the basis of their similarities evince well-structured perceptual categories, defined relatively to visual perception and independently from experience, language and higher-level cognition. The independence of these categories from experience, language, and higher-level cognition would be an argument for their naturalness, and hence for their universality, and for their role in shaping language itself. On the other hand, the influence of language on colour perception would come about by facilitating perception-controlled behaviours. The ordering procedure which rests on perceptual similarity yields a colour system in which perceptual categories are implicit and yet clear and stable. In fact, it shows that whatever speakers in whatever language community share the same experience of colour. The arguments presented favour the 'universalist' thesis and are important in regard to both the research methodology and interpretation of the experimental data. The study's distinctive features are the interdisciplinary nature of its approach, the gestaltist theoretical and methodological conception adopted, and the concept of the naturalness of colour advanced and discussed.

Does monocular visual space contain planes?

The issue of the existence of planes-understood as the carriers of a nexus of straight lines-in the monocular visual space of a stationary human observer has never been addressed. The most recent empirical data apply to binocular visual space and date from the 1960s (Foley, 1964). This appears to be both the first and the last time this basic issue was addressed empirically. Yet the question is of considerable conceptual interest. Here we report on a direct empirical test of the existence of planes in monocular visual space for a group of sixteen experienced observers. For the majority of these observers monocular visual space lacks a projective structure, albeit in qualitatively different ways. This greatly reduces the set of viable geometrical models. For example, it rules out all the classical homogeneous spaces (the Cayley-Klein geometries) such as the familiar Luneburg model. The qualitatively different behavior of experienced observers implies that the generic population might well be inhomogeneous with respect to the structure of visual space.