Who, what, and where perceives, and how? What are the sedimentations, inscriptions, and axiologies of animal, human, and machinic perception/s? What are their perceptibilities? Deleuze uses the word ‘visibilities’ to indicate that visual perception isn’t just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio-temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events. In physics, resonance is the tendency of a system to vibrate with increasing amplitudes at certain frequencies of excitation. In cybernetics and in theories of technology, it refers to systems’ feedback. In Native science, resonance denotes the axiology of positions and events. It’s a form of multi-species perception that emphasises emergent directionality and protean mnemonics. This transdisciplinary volume brings together key theorists and practitioners from media theory, Native science, bio-media and sound art, philosophy, art his- tory, and design informatics to examine: a) the becoming-technique of animal– human–machinic perceptibilities; and b) micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. The volume shows distributed perception to be a key notion in addressing the emergence and peristence of plant, animal, human, and machine relations.

This volume presents the most up-to-date collection of neural network models of music and creativity gathered together in one place. Chapters by leaders in the field cover new connectionist models of pitch perception, tonality, musical streaming, sequential and hierarchical melodic structure, composition, harmonization, rhythmic analysis, sound generation, and creative evolution. The collection combines journal papers on connectionist modeling, cognitive science, and music perception with new papers solicited for this volume. It also contains an extensive bibliography of related work. Contributors Shumeet Baluja, M.I. Bellgard, Michael A. Casey, Garrison W. Cottrell, Peter Desain, Robert O. Gjerdingen, Mike Greenhough, Niall Griffith, Stephen Grossberg, Henkjan Honing, Todd Jochem, Bruce F. Katz, John F. Kolen, Edward W. Large, Michael C. Mozer, Michael P.A. Page, Caroline Palmer, Jordan B. Pollack, Dean Pomerleau, Stephen W. Smoliar, Ian Taylor, Peter M. Todd, C.P. Tsang, Gregory M. Werner

The perception-action cycle is the circular flow of information that takes place between the organism and its environment in the course of a sensory-guided sequence of behaviour towards a goal. Each action causes changes in the environment that are analyzed bottom-up through the perceptual hierarchy and lead to the processing of further action, top-down through the executive hierarchy, toward motor effectors. These actions cause new changes that are analyzed and lead to new action, and so the cycle continues. The Perception-action cycle: Models, architectures and hardware book provides focused and easily accessible reviews of various aspects of the perception-action cycle. It is an unparalleled resource of information that will be an invaluable companion to anyone in constructing and developing models, algorithms and hardware implementations of autonomous machines empowered with cognitive capabilities. The book is divided into three main parts. In the first part, leading computational neuroscientists present brain-inspired models of perception, attention, cognitive control, decision making, conflict resolution and monitoring, knowledge representation and reasoning, learning and memory, planning and action, and consciousness grounded on experimental data. In the second part, architectures, algorithms, and systems with cognitive capabilities and minimal guidance from the brain, are discussed. These architectures, algorithms, and systems are inspired from the areas of cognitive science, computer vision, robotics, information theory, machine learning, computer agents and artificial intelligence. In the third part, the analysis, design and implementation of hardware systems with robust cognitive abilities from the areas of mechatronics, sensing technology, sensor fusion, smart sensor networks, control rules, controllability, stability, model/knowledge representation, and reasoning are discussed.

Neural Networks for Perception, Volume 2: Computation, Learning, and Architectures explores the computational and adaptation problems related to the use of neuronal systems, and the corresponding hardware architectures capable of implementing neural networks for perception and of coping with the complexity inherent in massively distributed computation. This book addresses both theoretical and practical issues related to the feasibility of both explaining human perception and implementing machine perception in terms of neural network models. The text is organized into two sections. The first section, computation and learning, discusses topics on learning visual behaviors, some of the elementary theory of the basic backpropagation neural network architecture, and computation and learning in the context of neural network capacity. The second section is on hardware architecture. The chapters included in this part of the book describe the architectures and possible applications of recent neurocomputing models. The Cohen-Grossberg model of associative memory, hybrid optical/digital architectures for neorocomputing, and electronic circuits for adaptive synapses are some of the subjects elucidated. Neuroscientists, computer scientists, engineers, and researchers in artificial intelligence will find the book useful.

In the past 30 years, face perception has become an area of major interest within psychology. This is the most comprehensive and commanding review of the field ever published.

What do we mean by semiotic perception? Why should the concepts of perception and expressivity be reinterpreted within the encompassing framework of a dynamic theory of semiotic fields and forms? Can we redeploy the concept of form in such a way as to make explicit such a native solidarity (‘chiasmatic’ would have said Merleau-Ponty) between perception, praxis and expression -- and first and foremost in the activity of language, right to the heart of the life of the social and speaking animal that we are? What then would be the epistemological and ontological consequences, and how might this affect the way we describe semiolinguistic forms? This book aims to provide answers to these questions by opening up avenues of research on how to understand the linguistic and semiotic dimensions at work in the constitution of experience, both individual and collective.

Aesthetics is about some special and unusual ways of experiencing the world. Not just artworks, but also nature and ordinary objects. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress. The aim of this book is to bring the discussion of aesthetics and perception together. Bence Nanay explores how many influential debates in aesthetics look very different, and may beAesthetics is about some special and unusual ways of experiencing the world. Not just artworks, but also nature and ordinary objects. But then if we apply the remarkably elaborate and sophisticated conceptual apparatus of philosophy of perception to questions in aesthetics, we can make real progress. The aim of this book is to bring the discussion of aesthetics and perception together. Bence Nanay explores how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. The focus of Aesthetics as Philosophy of Perception is the concept of attention and the ways in which this concept and especially the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we are attending to one perceptual object but our attention is distributed across its various properties. This way of experiencing the world is special and it plays an important role in characterizing a number of phenomena associated with aesthetics. Some of these that the book talks about include picture perception and depiction, aesthetic experiences, formalism, the importance of uniqueness in aesthetics, and the history of vision debate. But sometimes, in some aesthetic contexts, our attention is not at all distributed, but very much focused. Nanay closes his argument with an analysis of some paradigmatic aesthetic phenomena where our attention is focused: identification and engagement with fictional characters. And the conflict and interplay between distributed and focused attention is an important feature of many artworks.