Dustin Stokes

This paper offers a critical survey and analysis of empirical studies on creativity, with emphasis on how imagination plays a role in the creative process. It takes as a foil the romantic view that, given features like novelty, incubation, and insight, we should be skeptical about the prospects for naturalistic explanation of creativity. It rebuts this skepticism by first distinguishing stages or operations in the creative process. It then works through various behavioral and neural studies, and corresponding philosophical theorizing, that concern the preparation, generation, insight, and evaluation stages of creative processes. The result is not a complete explanation of creativity, but it identifies an explanatory path towards such an explanation, including the features of creativity that motivate that skepticism.

This is a symposium on _Thinking and Perceiving_, a single authored monograph that argues that thought not only affects sensory perception, but sometimes improves it, and sometimes to the point of epistemic virtue. The case for these claims is empirically grounded, with special emphasis on studies on perceptual expertise. The symposium includes an introduction by the author, and three critical commentaries--by Amy Kind, Casey O'Callaghan, and Wayne Wu--concluding with a reply by the author. The discussion is wide ranging, including: attention, cognitive penetrability or perception, the modularity of mind; computational analyses of mind, imagination, imaginative skill and expertise; theory-ladenness of perception; objectivity; perceptual content and perceptual success.

This is a reply to the critical commentaries of Zed Adams, Zoe Drayson, Chris Mole, and Aleksandra Mroczko-Wąsowicz. The unifying theme across all four commentaries is the question: just how radical are the ideas contained in, and implied by, Thinking and Perceiving? Does the abandonment of the modularity of mind, and an embrace of the malleability of mind, have wide reaching consequences for empirical studies of sensory perception, for cognitive architecture, for the metaphysics of mind and the epistemology of perception? And which of those consequences are welcomed, and which of those are problematic? These general questions anchor in (at least) the following topics: learning and the role of cognition, object recognition, perceptual expertise, early versus late vision, perception and truth, virtue epistemology, and computational architectures of mind. This reply attempts to address the overarching question from this variety of angles taken in the four commentaries.

This chapter offers a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. It surveys some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural, as opposed to magical, occult, or supernatural, and is therefore amenable to scientific inquiry. The chapter divides into two categories. The broader category is empirical philosophy, which draws on empirical research while addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed by philosophers with the explicit purpose of addressing philosophical questions. This categorization is admittedly somewhat artificial, but it is a familiar one in the prevailing division of intellectual labor, and it will be a useful organizational tool for the chapter.

One of the dominant behavioral markers of visual-expert search strategy, Holistic Visual Processing (HVP), suggests that experts process information from a larger region of space in conjunction with a more focused gaze pattern in order to improve search speed and accuracy. To date, extant literature suggests that visual search expertise is domain specific, including HVP and its associated behaviors. The current study is the first to use eye tracking to directly measure the HVP strategies of two expert groups, radiologists and architects, in comparison to one another and a novice control. In doing so, we replicated and extended this prior research: visual expertise is domain specific. However, our eye tracking data indicate that contrary to this prior work, HVP strategies are transferable across domains. Yet, despite the transfer of HVP strategies, there is neither reduced search time nor greater accuracy in visual search outside of an expert’s domain. Therefore, our data suggest that HVP behaviors are a particular form of visual search mechanism that, outside of an expert’s native search-ecology, are not necessarily conducive to more general visual search success. It is in addition to explicit knowledge of an expert’s domain, how to search, and where to search, that HVP strategies are their most effective for visual search success.

Thinking and Perceiving defends the claim that thought not only affects perceiving, thought improves perceiving. It thus defends a malleable architecture of the mind, opposite strong modularist views that claim that perception is informationally encapsulated and thus cognitively impenetrable. The argument for this view centers around cases of perceptual expertise. Experts in a wide variety of domains—radiology, birdwatching, elite athletics, fingerprint examination—have been empirically studied using behavioral, neural-physiological, and computational methods. This convergence of evidence is best explained in terms of cognitively sensitive perceptual improvements. And these improvements amount to epistemic virtue, where the virtue is partly resident in perception and credited to the perceiving agent. The view has far-reaching implications for a wide range of issues, including the epistemology of perception, the contents of perception, theory-ladenness in science and social perception, understanding and self-understanding, and aesthetic taste.

In the September 2020 edition of Perception, Alan Gilchrist published an editorial entitled “The Integrity of Vision” (Gilchrist, 2020). In it, Gilchrist critiques motivated perception research. His main points are as follows: (1) Motivated perception is compromised by experimental demand: Results do not actually show motivated perception but instead reflect subjects’ desires to comply with inferred predictions. (2) Motivated perception studies use designs that make predictions obvious to subjects. These transparent designs conspire with experimental demand to yield confirmatory but compromised results. (3) Motivated perception research lacks guiding theory and cannot explain what appear to be contradictory results. (4) Motivated perception presents an unsupportable assault upon the impermeability of perception. The present commentary responds to these four assertions.

Studies in the psychology of visual expertise have tended to focus on a limited set of expert domains, such as radiology and athletics. Conclusions drawn from these data indicate that experts use parafoveal vision to process images holistically. In this study, we examined a novel, as-of-yet-unstudied class of visual experts—architects—expecting similar results. However, the results indicate that architects, though visual experts, may not employ the holistic processing strategy observed in their previously studied counterparts. Participants (n = 48, 24 architects, 24 naïve) were asked to find targets in chest radiographs and perspective images. All images were presented in both gaze-contingent and normal viewing conditions. Consistent with a holistic processing model, we expected two results: (1) architects would display a greater difference in saccadic amplitude between the gaze- contingent and normal conditions, and (2) architects would spend less time per search than an undergraduate control group. We found that the architects were more accurate in the perspectival task, but they took more time and displayed a lower difference in saccadic amplitude than the controls. Our research indicates a disjunctive conclusion. Either architects are simply different kinds of visual experts than those previously studied, or we have generated a task that employs visual expertise without holistic processing. Our data suggest a healthy skepticism for across-the-board inferences collected from a single domain of expertise to the nature of visual expertise generally. More work is needed to determine whether holism is a feature of all visual expertise.

[File is the introduction to the monograph] Abstract to monograph How and whether thinking affects perceiving is a deeply important question. Of course it is of scientific interest: to understand the human mind is to understand how we best distinguish its processes, how those processes interact, and what this implies for how and what we may know about the world. And so in the philosopher’s terms, this book is one on both mental architecture and the epistemology of perception. But there is a more human interest. How we make contact with the world, and with one another, is of the most basic of importance. We can make both sensory contact and cognitive contact with the world. The first is traditionally supposed to be determined by the biological nature of our sensory systems, while the second is at least partly determined by us, what we have learned, our experiences, and so on. The most basic claim of the book is that this is mistaken and importantly so. Our sensory contact with the world can also change and in a way that is importantly affected by the cognitive contact that we have, or have had, with the world. Thinking does not just affect perceiving, thinking improves perceiving. If this is true, it changes not only how we should theorize the mind, it changes how we should understand, as individuals, our place in and contact with the world.

One distinct interest in self-knowledge concerns whether one can know about one’s own mental states and processes, how much, and by what methods. One broad distinction is between accounts that centrally claim that we look inward for self-knowledge (introspective methods) and those that claim that we look outward for self-knowledge (transparency methods). It is here argued that neither method is sufficient, and that we see this as soon as we move beyond questions about knowledge of one’s beliefs, focusing instead on how one distinguishes, for oneself, one’s veridical visual memories from mere (non-veridical) visual images. Given robust psychological and phenomenal similarities between episodic memories and mere imagery, the following is a genuine question that one might pose to oneself: “Do I actually remember that happening, or am I just imagining it?” After critical analysis of the transparency method (advocated by Byrne 2010, following Evans 1982) to this latter epistemological question, a brief sketch is offered of a more holistic and inferential method for acquisition of broader self-knowledge (broadly following the interpretive-sensory access account of Carruthers 2011). In a slogan, knowing more of the mind requires using more of the mind.

The question of whether perception can be penetrated by cognition is in the limelight again. The reason this question keeps coming up is that there is so much at stake: Is it possible to have theory-neutral observation? Is it possible to study perception without recourse to expectations, context, and beliefs? What are the boundaries between perception, memory, and inference (and do they even exist)? Are findings from neuroscience that paint a picture of perception as an inherently bidirectional and interactive process relevant for understanding the relationship between cognition and perception? We have assembled a group of philosophers and psychologists who have been considering the thesis of cognitive (im)penetrability in light of these questions (Abdel Rahman & Sommer, 2008; Goldstone, Landy, & Brunel, 2011; Lupyan, Thompson-Schill, & Swingley, 2010; Macpherson, 2012; Stokes, 2011). Rather than rehashing previous arguments which appear, in retrospect, to have been somewhat ill-posed (Pylyshyn, 1999), this symposium will present a thesis of cognitive (im)penetrability that is at once philosophically satisfying, empirically testable, and relevant to the questions that cognitive scientists find most interesting.

This chapter concerns the cognitive penetration of the visual experience of colour. Alleged cases of cognitively penetrated colour perception are of special import since they concern an uncontroversial type of visual experience. All theorists of perception agree that colour properties figure properly in the content or presentation of visual perception, even though not all parties agree that pine trees or causes or other "high-level" properties can figure properly in visual content or presentation. So an alleged case of this kind does not require controversial commitments regarding the admissible contents of visual perception. The chapter clarifies this theoretical importance , identifying alleged empirical cases of cognitively penetrated colour perception, and then analyzing the implications of such cases for an epistemology of perception.

Fictions evoke imagery, and their value consists partly in that achievement. This paper offers analysis of this neglected topic. Section 2 identifies relevant philosophical background. Section 3 offers a working definition of imagery. Section 4 identifies empirical work on visual imagery. Sections 5 and 6 criticize imagery essentialism, through the lens of genuine fictional narratives. This outcome, though, is not wholly critical. The expressed spirit of imagery essentialism is to encourage philosophers to ‘put the image back into the imagination’. The weakened conclusion is that while an image is not essential to imagining, it should be returned to our theories of imagination.

Expertise is a cognitive achievement that clearly involves experience and learning, and often requires explicit, time-consuming training specific to the relevant domain. It is also intuitive that this kind of achievement is, in a rich sense, genuinely perceptual. Many experts—be they radiologists, bird watchers, or fingerprint examiners—are better perceivers in the domain(s) of their expertise. The goal of this paper is to motivate three related claims, by substantial appeal to recent empirical research on perceptual expertise: Perceptual expertise is genuinely perceptual and genuinely cognitive, and this phenomenon reveals how we can become epistemically better perceivers. These claims are defended against sceptical opponents that deny significant top-down or cognitive effects on perception, and opponents who maintain that any such effects on perception are epistemically pernicious.

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced.

This paper concerns how extant theorists of predictive coding conceptualize and explain possible instances of cognitive penetration. §I offers brief clarification of the predictive coding framework and relevant mechanisms, and a brief characterization of cognitive penetration and some challenges that come with defining it. §II develops more precise ways that the predictive coding framework can explain, and of course thereby allow for, genuine top-down causal effects on perceptual experience, of the kind discussed in the context of cognitive penetration. §III develops these insights further with an eye towards tracking one extant criterion for cognitive penetration, namely, that the relevant cognitive effects on perception must be sufficiently direct. Throughout these discussions, we extend the analyses of the predictive coding models, as we know them. So one open question that surfaces is how much of the extended analyses are genuinely just part of the predictive coding models, or something that must be added to them in order to generate these additional explanatory benefits. In §IV, we analyze and criticize a claim made by some theorists of predictive coding, namely, that (interesting) instances of cognitive penetration tend to occur in perceptual circumstances involving substantial noise or uncertainty. It is here that our analysis is most critical. We argue that, when applied, the claim fails to explain (or perhaps even be consistent with) a large range of important and uncontroversially interesting possible cases of cognitive penetration. We conclude with a general speculation about how the recent work on the predictive mind may influence the current dialectic concerning top-down effects on perception.

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art.

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action?

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds.