Human factors play a critical role in the design and interpretation of remotely sensed imagery for all Earth sciences. Remote Sensing and Cognition: Human Factors in Image Interpretation brings together current topics widely recognized and addressed regarding human cognition in geographic imagery, especially remote sensing imagery with complex data. It addresses themes around expertise including methods for knowledge elicitation and modeling of expertise, the effects of different aspects of realism on the interpretation of the environment, spatial learning using imagery, the effect of visual perspective on interpretation, and a variety of technologies and methods for utilizing knowledge in the analysis of remote sensing imagery. Written by leaders in the field, this book provides answers to the host of questions raised at the nexus of psychology and remote sensing. Academics and researchers with an interest in the human issues surrounding the use of remote sensing data will find this book to be an invaluable resource. The topics covered in this book are useful for both the scientific analysis of remote sensing imagery as well as the design and display of remote sensing imagery to facilitate a variety of other tasks including education and wayfinding. Features Brings together remote sensing, environmental, and computer scientists discussing their work from a psychological or human factors perspective Answers questions related to aesthetics of scientific visualization and mathematical analysis of perceptible objects Explains the perception and interpretation of realistic representations Provides illustrative real-world examples Shows how the features of display symbols, elements, and patterns have clear effects on processes of perception and visual search

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.

An argument that there are perceptual mechanisms that retrieve information in cognitively and conceptually unmediated ways and that this sheds light on various philosophical issues. In Cognition and Perception, Athanassios Raftopoulos discusses the cognitive penetrability of perception and claims that there is a part of visual processes (which he calls “perception”) that results in representational states with nonconceptual content; that is, a part that retrieves information from visual scenes in conceptually unmediated, “bottom-up,” theory-neutral ways. Raftopoulos applies this insight to problems in philosophy of science, philosophy of mind, and epistemology, and examines how we access the external world through our perception as well as what we can know of that world. To show that there is a theory-neutral part of existence, Raftopoulos turns to cognitive science and argues that there is substantial scientific evidence. He then claims that perception induces representational states with nonconceptual content and examines the nature of the nonconceptual content. The nonconceptual information retrieved, he argues, does not allow the identification or recognition of an object but only its individuation as a discrete persistent object with certain spatiotemporal properties and other features. Object individuation, however, suffices to determine the referents of perceptual demonstratives. Raftopoulos defends his account in the context of current discussions on the issue of the theory-ladenness of perception (namely the Fodor-Churchland debate), and then discusses the repercussions of his thesis for problems in the philosophy of science. Finally, Raftopoulos claims that there is a minimal form of realism that is defensible. This minimal realism holds that objects, their spatiotemporal properties, and such features as shape, orientation, and motion are real, mind-independent properties in the world.

The relationships between perception and imagery, imagery and spatial processes, memory and action: These are the main themes of this text The interest of experimental psychology and cognitive neuroscience on imagery and spatial cognition is remarkably increased in the last decades. Different areas of research contribute to the clarification of the multiple cognitive processes subserving spatial perception and exploration, and to the definition of the neurophysiological mechanisms underpinning these cognitive functions. The aim of this book is to provide the reader (post-graduate students as well as experts) with a complete overview of this field of research. It illustrates the way how brain, behaviour and cognition interact in normal and pathological subjects in perceiving, representing and exploring space. (Series B).

Applies research on how humans perceive, process and store information to the viewing and interpretation of art. The author argues that the clearest view of the mind comes from creating or experiencing art. The illustrations cover a range of examples but focus primarily on Western art.

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