Visual, tactual, and kinesthetic sensory experiences, visual
afterimages, and dreams have distinct spatial characteristics. The
relation of these spaces to physical space is a difficult issue in
the philosophy of perception. How can sensory images and dreams
have spatial features and how can such spaces coexist with physical
space, which is commonly assumed to be the only real space? Clear
insights into these difficulties are possible through ideas on the
nature of space that have been developed by intensive geometrical
research in the last 150 years. A favorable ground for pursuing
these ideas can be prepared by considering the development of
spatial concepts and operations in children or congenitally blind
people whose sight has been restored by surgery. This can relieve
the constraints of mistaken attitudes and preconceptions about the
nature of space that make confusion almost inevitable.
Piaget's research shows that the child's concept of space
begins with an almost undifferentiated flux and is built up
through several very definite and revealing
stages.These stages
include: the recognition of certain constant combinations of
features and patterns; the ability to follow a moving object and
recognize the invariance of its form despite its movement; the
understanding that an operation, such as hiding an object, can be
undone by a second operation; and the child's discovery that he
can go from A to B by many paths, and if this is done by any one
path he can undo it by many alternate paths. At the end of these
stages the child acquires a mental map of the world with a set of
permanent places occupied by various objects, one of which is
himself from which there is a unique perspective on the world.
Later these concepts of space are extended to the refinements of
perspective, topological relationships, and geometrical thought.
This map pervades perception so intimately that it seems to be an
inevitable and necessary feature of experience, and it becomes
nearly impossible to question its basic nature.
Congenitally blind people whose sight has been restored by
surgery experience great difficulty perceiving three-dimensional
space and the relations between objects. They are able to see
little at first, and cannot name objects or distinguish between
simple objects and shapes. The visual field is a confused pattern
of light, dark, colored, and moving visual sensations that bear
little resemblance to the visual field of a normal person. They
tend to see only the outlines of solid geometrical figures; for
example, a sphere appears to be the same as a disk. There is
usually a long period of learning before the formerly blind can
develop useful vision, and in some cases this is never
accomplished. Some give up the attempt and revert to a life of
blindness, often after a period of severe emotional distress.
Some quickly learn to see rather well; particularly those who are
intelligent, active, and who have received a good education while
blind. One of these, a man who had been blind from the ages of 10
months to 52 years, enjoyed making things with simple tools and
longed for a time when he might see. He tried throughout his life
to picture the visual world. When his bandages were removed he
did not suddenly see the world of objects as a normal person
does. He was able to use his eyes well after a few days and judge
distances and sizes accurately if he already knew a particular
object by touch, although his sense of vertical distance was much
distorted. He was unable to recognize objects that he had not
touched and was unable to draw anything he did not already know
by touch. His tactual and kinesthetic experience had enabled him
to develop a sense of space which, after some effort, could be
transferred to his newly acquired vision.This research
confirms the ideas of the French mathematician Henri
Poincaré, who wrote in the early twentieth century that
isolated sensations cannot provide an individual with a concept
of space; rather, this is developed through learning the laws by
which these sensations succeed one another, especially in
response to the voluntary movements of the
individual.Space is a concept
that is abstracted from physical operations, and not a static
medium containing objects.
The concept of sensory spaces becomes more accessible through the
mathematical idea of a manifold. The concept of a manifold is
more general than that of space, which is a subset of manifolds.
It enables us to develop basic ideas that are fundamental to the
concept of space. Since the idea of a manifold is more abstract
and unfamiliar than that of space, we do not approach it with the
same ingrained attitudes we have about space. This enables us to
bypass some of our preconceptions and permits a fresh and
powerful perspective on the concept of space.
Manifolds
The location of any book in a bookcase can be specified by two
descriptions; for example, third shelf from the top, eighth book
from the left. The location of any bead in a string of beads can
be specified by a single description, such as eleventh bead from
the left. A manifold is any set of elements such that the
location of any element in the set is completely specified when
all of n essential descriptions are given. The elements may be
objects, operations, or anything specifiable, and the description
may be any clearly defined characteristic that is variable, such
as distance, brightness, or weight. A manifold is connected if
for any two of its elements there exists a chain or path between
them such that every element of the path is a member of the
manifold. The string of beads is connected; the shelved books are
not because there is no path of books between the shelves. A
connected manifold is discrete if a passage along a path in the
manifold encounters abrupt changes in the varying
characteristics; otherwise it is continuous. For example,
movement along a string of beads, or through a series of Morse
code sounds, encounters sudden changes between the elements. The
colors of the spectrum, or the muscular sensations of extending
an arm, form a continuous series of gradations into other colors
or muscular sensations.
A manifold is one-dimensional if the removal of a single
element divides it into two parts such that there is no unbroken
path between the parts. A manifold is two-dimensional if the
removal of a one-dimensional manifold divides it in a similar
manner. It is n-dimensional if it is necessary to remove an
(n-I)-dimensional manifold in order to divide
it.For example,
a succession of musical notes of continuously varying pitch is a
one-dimensional manifold, because the removal of a note in the
succession makes any passage through it encounter a sudden jump
in pitch. If each note can be sounded with both varying pitch and
intensity, two descriptions are necessary to specify a sound, and
we now have a two-dimensional manifold. The removal of a single
note will not cut it into two parts. A one-dimensional manifold
must be removed; for example, all notes at middle C in all its
intensities. Any path between notes less than and greater than
the removed pitch would encounter a sudden jump. Similarly, each
note may be varied in tone to form a three-dimensional
manifold.
Continuous connected manifolds are very common in ordinary
life. The shades of gray between black and white, and the
spectrum of weights between two given weights are one-dimensional
manifolds.The color
continuum is a three-dimensional manifold of hue, saturation, and
brightness. A sensory manifold is any manifold that depends on
the stimulation of a definite set of sense organs in a particular
individual. The sensory manifolds are especially significant for
the idea of sensory spaces.
Suppose a person is blindfolded and his skin touched with two pin
points. That person can distinguish between the points if there
is sufficient spread between them, but when they are brought
together they are felt as one point. From any tactual point on
the skin there is a path of such points to any other tactual
point on the skin; that is, there exists a one-dimensional
manifold of tactual points between any two such points on the
skin. Now consider a continuous series of such points encircling
the arm, and then imagine that they have been removed. All the
tactual points have now been divided into two distinct domains,
the points that are on the lower arm and those on the rest of the
body. All paths between points in these two areas are broken by
the series that was removed. It is necessary to remove a
one-dimensional manifold of tactual points from the skin in order
to divide it into two separate domains of tactual points. The set
of all tactual points on the body is a two-dimensional sensory
manifold.
Visual manifolds are more complex. The basic visual field is
two-dimensional. Visual elements are directly perceived to the
right and left and above and below the direction of sight.
Objects are also perceived at various distances from the eyes,
but this third dimension of the visual field does not have the
simple direct quality of the other two. Otherwise, the far side
of opaque objects would be visible. The visual elements are
assigned distance values according to a complex set of cues, such
as muscular accommodation in the eye, hue, brightness,
superposition, perspective, and texture-density gradients. The
visual elements are distributed in a two-dimensional field, but
the cues assign a third characteristic to the elements which
makes the visual experience a three-dimensional field. Turning
the head or walking generates a continuous family of visual
fields which are integrated into a single system. Such activity
adds parallax shift, which is an additional distance cue. The
family of visual fields arising from the observer's movements and
past experiences is integrated into a common manifold. The
various descriptions specifying the location of elements in this
integrated family of visual fields can always be reduced to three
independent descriptions.
The set of feelings that corresponds to the various stages of
contraction of a muscle is a one-dimensional manifold. All of the
families of muscular sensations are integrated into a common
three-dimensional kinesthetic manifold. Two different kinds of
sensory manifolds can be combined into a common manifold, and the
equivalence values between the two kinds of sensory elements
reduce its dimensionality. For example, vision and the handling
of objects are coordinated into a visual-kinesthetic manifold.
When one reaches for an object, the hand is seen to touch it
exactly when the arm is felt to be sufficiently extended. No more
than three descriptions, visual or kinesthetic, are needed to
specify any element of this system. For example, the location of
an object may be described by saying "Walk thirty
paces forward, then fifty paces to the left, then look up eight
feet."The system is further elaborated by
incorporating values from other senses, such as tactual and
auditory ones. All the senses are integrated into a
three-dimensional general sensory manifold.
Spaces
Connected manifolds are the essence of space. Understanding
space through this concept provides a perspective of its basic
nature that is free of misleading preconceptions. A space is a
connected manifold such that each element has associated with it
subsets of elements called neighborhoods. A neighborhood may be
thought of loosely as a region of elements having the same general
properties as the manifold. For example, any small region on the
surface of a sheet of paper is a two-dimensional manifold similar
to the two-dimensional manifold of the entire sheet. The elements
are called points, and the kind of space depends on the particular
axioms that the neighborhoods satisfy. The most familiar spaces,
when idealized, satisfy the following conditions:
-
Each point has at least one neighborhood.
-
Any two neighborhoods of the same point have a common
subset, which is a neighborhood of that point.
- If the point y is contained in a neighborhood of the point
x, there exists a neighborhood of y, which is a subset of the
neighborhood of x.
- For any two distinct points there exist two neighborhoods
without common points.
The familiar space of normal life satisfies these conditions.
Visual, tactual, and kinesthetic manifolds are less
stable,Yet, as they
are experienced, they generally satisfy these axioms and are
sensory spaces. We have seen that the sensory manifolds are
integrated into a more complex manifold of sensations, memories,
and abstract manifolds to form a more stable general sensory
manifold. This manifold satisfies the axioms more consistently,
and it is a space.
The neighborhood axioms outline the connectivity properties of
a space, that is, their topology. A metric space is a space in
which all pairs of points have a well-defined distance
relation.For example, the
separation of any two points in the space of a room may be
expressed in centimeters.
Consider an extended one-dimensional space whose elements are
points of light consecutively ordered by increasing brightness.
Each element is uniquely situated in the space by its brightness
specification, but it is not necessary to designate a brightness
value in order to locate an element uniquely. The nth brightness
is also simply the nth element. A position can be associated with
every element of the space, and the set of all positions is
itself a space. Such second order spaces can be associated with
primary spaces of any dimensionality, and the corresponding
spaces have identical mathematical characteristics. We can think
of such abstract spaces as background for the primary elements.
This provides us a powerful basic system as a reference for the
primary elements. The background space is abstracted from the
primary elements and their relations. They can no more stand
alone than the current of a river can flow without water,
although it is very expedient to work with the abstract
properties of spaces as with purely mathematical hydrodynamics.
In the sensory spaces we have an operational awareness of both
primary elements and abstract positions. The general sensory
manifold is a very complex unity of concrete and abstract spaces.
The operational experiences of ordinary life support a concept
of universal space that incorporates all the sensory spaces into
a general frame of reference for the familiar world. This is what
is thought of as public or physical space. It is the space
referenced in describing places, shapes, and locations to other
people. Physical space has many advantages over sensory space. It
is not centered in the individual. It incorporates a lifetime of
experienced sensory spaces and includes the ground of possible
sensory spaces that have not been experienced. It is far more
consistent and dependable than sensory spaces. Unlike sensory
spaces it is homogeneous and isotropic.A very important
characteristic of physical space is represented by the postulate
that the interval between any two points on a rigid rod remains
independent of any motion of the rod, thus enabling consistent
measurements.
This line of development is continued in geometry by considering
a mathematical space that is an idealization of physical space.
It is then possible to study the purely logical properties of
this ideal space. While Euclidean geometry appears to represent
physical space quite well, mathematicians have constructed other
internally consistent spaces. It is possible that some
nonEuclidean geometry could be a better model of the
physical universe on a cosmological scale. Pure mathematicians
even postulate spaces that have no relation to the physical
world. They are concerned only with the purely mathematical
properties of these ideal constructions.
Physical space and time are commonly thought of as systems of
infinitesimal points and instants, but these are concepts of
ideal mathematical space and time. Empirical spaces differ from
such ideal spaces. A person's vision has a lower limit of acuity,
although there is no awareness of the grain of the visual field.
The cell assemblies that operate as functional units in the
retina, lateral geniculate body, and visual cortex suggests that
the sensory fields do not function in the same manner as
operations performed on isolated independent points. The
operational elements of the sensory fields are not the momentary
elementary sensations described by the
structuralists, but are entities such as line segments, corners,
or vowels, which reflect the pattern of neural operations.
Infinitesimal points and instants are essential concepts in the
mathematical analysis of the ideal spaces of geometry and
physics, but they are misleading for sensory spaces. Physicists
have considered the possibility that even physical space and time
are not composed of infinitesimal elements.
Human perceptions do not arise from operations on points of from
momentary sensations. An overall structure is built up and
abstracted from looser and more expanded elements, from which
points and instants can then be constructed. The smallest
elements common to the overlapping of the operational units of
sensory space define its points. These natural units can then be
redefined in terms of points. Thus, the operational priority of
the units becomes replaced by the structural priority of points,
which misleadingly suggests that points have operational
priority. Isolated sensations are not elementary experiences.
However, ideal concepts have mistakenly led to the structuralist
school of perception.
One of the features most intimately associated with the familiar
space of ordinary life is extension. Extension is not the same as
distance. Time is not extended in the manner of space, yet it
satisfies the conditions of the distance relation. Extension is
regarded as such a universal and convincing characteristic of the
space of human experience that it is considered to pervade
throughout the world and encompass all of existence. This belief
is problematic in the philosophy of perception, and makes it
necessary to understand the nature of extension and its
implications for sensory spaces.
A space is extended if it satisfies the following conditions:
- All pairs of elements have separation; this is the last of
the four neighborhood axioms.
-
All elements exist simultaneously.
-
For any two elements, and any path within the space
connecting them, there is a possible operation for traversing
that path by a movement that acquires the specifications of each
element as it is encountered.
The first condition is the basis of the idea of "here," "there,"
and "a partness." The second condition is partially the basis for
the strong feeling of reality and stability associated with
ordinary space. From the vantage point of any part of an extended
space, other parts are considered to be there now. The third
condition provides the feeling of access, in principle, to all
parts of an extended space. These conditions are not only
satisfied by physical space, but also by the visual, tactual, and
kinesthetic fields and by general sensory space.
A series of objects of continuously increasing weight has
separation and simultaneity, but there is no movement from one
weight to another that acquires the varying weights. There can be
the implied movement that results from changes in attention, but
attention is not the same as weight.
Voluntary movements are critical to the development of the
concept of extended space because access, in principle, is a
fundamental feature of such space. Thus the kinesthetic manifold
is a uniquely important subspace of the general sensory manifold.
One can directly control and change separate parts of kinesthetic
space at will, allowing an ease of direct access to all its parts
unmatched by the space of other senses. This feature generates a
feeling of being a part of physical space while the other senses
provide a feeling of observing it. In kinesthetic perception an
object can actually be surrounded by a system of muscular
movements. The object then appears to be embedded in a space
generated by the movements of the body. This special
characteristic of kinesthetic space is incorporated into general
sensory space which is then generalized into physical space.
The imagery in dreams that are clear not only satisfies the
criteria for space, but also for extended space. Dream spaces are
usually extended in three dimensions, with separation,
simultaneity, and voluntary movement among the elements. The
philosopher H.H. Price described the spatial relations of dream
images in vivid language:
If I dream of a tiger, my tiger-image has extension and shape.
The dark stripes have spatial relations to the yellow parts, and
to each other; the nose has a spatial relation to the tail.
Again, the tiger-image as a whole may have spatial relations to
another image in my dream, for example to an image resembling a
palm tree.
It is common in dreams for a person to walk down a path, cross a
bridge, see a face, look into a canyon, or approach some object
of interest, all of which are spatial experiences in the dream.
Physical space is commonly regarded as a unique medium in which
all of existence is embedded. This implies that there can be no
extended spaces other than physical space, and hence that dream
and sensory spaces are unreal or paradoxical. The imagery in
dreams has extension, yet the extension of a dream space cannot
be extension in physical space. This paradox is resolved by the
realization that space is nothing more than a special kind of
organization of elements. A system of elements may be a space
under the organization of one domain, but not a space when viewed
through the organization of a different domain. The source of a
dream space is neural events occurring in physical space, but the
geometric relations in dream space are not geometric relations in
physical space. A pair of independent radiophoto transmissions
occurs in the same space from the viewpoint of the physical
world, but there are two image spaces from the viewpoint of the
organizations within the signal variations. There is a basis in
physical space for the image spaces, but that basis is only a
play of signal variations when viewed within the geometry of
physical space. What is space from one organizational vantage
point may be only a collection of disordered elements from
another. Thus it is possible that dreams and drug visions, which
are extended spaces, can have an electrochemical basis in the
brain and yet be completely unrecognizable as images and spaces
from an ordinary physical point of view.
Extension in dreams does not conflict with the extension of
physical space, because the elements and operations in dreams are
not a recognizable submanifold of physical space. A dream
manifold is not merely a simulation of extension. The third
dimension supported by perspective and other cues in a painting
is a simulation of extension, because there can be no access
movement in that dimension except through changes in attention.
There is motion in the third dimension in a movie, but there is
no way for that motion to be accessible. It is possible to
control movement in the third dimension of a mirror, but the
source of that control is not
within the image space. The image space is extended in a third
dimension in accordance with the image behavior, but the source
of movement is not in that space. Dream spaces are usually
extended in three dimensions, but sometimes only in two, and
there is separation, simultaneity, and voluntary movement among
the elements. Unlike the case of images in a mirror, in a dream
the source of movement is within the space. The visual, tactual,
kinesthetic, and general sensory spaces also have genuine
extension, and their association with physical space is
sufficiently close to support the common attitude that those
extensions are somehow part of the extension of physical space.
Approaching the concept of space by means of the idea of
manifolds clearly shows how it is possible for spaces to exist
within spaces, that have no common organization except from a
perspective outside the system.
The idea that the familiar extended space of ordinary experience
is generated by events and is not a unique and eternal medium in
which objects are immersed is startling to common sense. The
complex of sensory and physical spaces and their second-order
fields, which are ordinarily termed "space," has such a
comprehensive framework that it is difficult to show that space
is not an immutable medium without implicitly assuming such a
medium. Our spatial framework is so constantly present and
familiar that when we attempt to imagine it in the absence of
operations, a second order field remains before us and
we speak of "empty space." But that space is not truly empty. We
have subtly intruded unconscious attitudes into it, which support
that space. Thus space is usually construed to be an absolute
entity. Liebnitz thought of space as "an order
of coexistences"but this idea was two hundred years
ahead of its time.
Generation of Sensory Spaces
The mutability of the sensory spaces is more readily apparent.
Tactile space is abolished when the body is immersed in water at
body temperature and sensation is nullified. When all muscular
activity ceases, the kinesthetic space of the moment is nothing
more than rather vague attitudes associated with previous
muscular experience, and thus it is clear that kinesthetic space
is entirely dependent on muscular activity. It becomes clear that
the third dimension of visual space is generated, when we
perceive the effects of altering basic depth cues by optical
instruments or reversed lighting. A different three-dimensional
space is then experienced, which may have exaggerated depth, be
stretched out, or reversed. When a person first wears new
eyeglasses, his visual and kinesthetic coordination are initially
upset. The street may look closer than his sensations indicate.
His general sensory space is distorted by altered correlations
until he is able to learn a new system. The basic two-dimensional
field is never absent in the waking state, but the deterioration
of acuity toward the edges of the field and the phenomenon of the
blind spot reveal that it is generated.
Physical space is less mutable than general sensory space, yet
modern physics has shown that physical space is not independent
of physical processes. It is distorted under the extreme
conditions considered by relativity theory. The geometric
properties of physical space are determined by matter and its
transformations.
Some sensory spaces have the character of a medium, which is any
definite kind of entity distributed in the manner of an extended
space. A painting is supported by the medium of paint. The
momentary visual field is the medium of visual sensations.
Kinesthetic space is not a medium, because its extension is
supported not by muscular sensations alone but by those
sensations and attitudes about possible muscular sensations.
General sensory space is a fabric of sensory media, operations,
and attitudes. Physical space is a manifold of physical
transformations and their second order spaces. Physical space is
not a medium, but our means of conceptualizing it subtly projects
it on imaginary media. The visual field is a very strong source
of this projection. The tendency to think of physical space as a
kind of nothingness which is yet a medium contributes to the
confusion felt when we try to imagine the limits of a finite
physical universe. None of the higher-order spaces is a medium,
because the elements have only mathematical properties.
Spaces have no independent substance of their own. All are
dependent in various ways on first-order elements and their
relations. The main difference between the spatiality of
sensations and that of objects is the degree of refinement to
which metrics can be assigned to them. Ideas of physical space
are developed by means of experiences with physical entities. As
Poincaré observed, the body is a crude measuring instrument,
and the instruments that the child owes to nature and those the
scientist owes to his ingenuity have the same fundamental basis
in the solid body and the light ray.Physical space
has no properties independent of the instruments used to measure
it, and to geometrize is to study their properties.
The familiar extended spaces have a smooth contiguity from
region to region that appears to be one of their immutable
features. Yet the visual field has a lower limit of acuity,
although we are not aware of boundaries or gaps between the
visual elements. Direct scrutiny of the visual field is incapable
of detecting them because they do not exist for that operation,
just as one cannot feel the roughness between the grains of
sandpaper. Any operation that traverses a set of elements in such
a way that gaps are undetectable has a smooth continuity for that
operation.A time lapse
movie of a door in which each frame shows only a closed door may
have gaps in which the door is open, but that will be completely
invisible in the film and only a smooth continuous sequence of a
closed door will be apparent. Areas that are contiguous in one
operation may not be with respect to another. It is possible to
construct a set of contiguous areas on a flat surface which are
in separate planes situated at various distances when viewed in a
stereoscope.
The Pulfrich pendulum illusion is an elegant demonstration of the
neural system's ability to generate space. Cover one eye with a
dark transparent glass and let a pendulum that consists of a
weight and a string several feet long swing in a straight arc
perpendicular to the line of sight. When the oscillating bob is
viewed with both eyes, it appears to circumscribe an ellipse. The
eye that is adapted to the dark takes a longer time to integrate
energy and send messages to the brain; hence it sees the bob
slightly in the past. The disparity in the effective position of
the two eyes generates an ellipse which the bob appears to trace
in its swings. The time discrepancy is equivalent to a binocular
parallax effect which, for the brain, is exactly as if the bob
were really swinging in an ellipse. Julasz's random dot
stereograms create another effect that vividly demonstrates the
ability of the central
nervous system to generate space. These are special pairs of
displays constructed with a computer in such a way that each
display consists of random dots with no recognizable structure,
but when viewed stereoscopically they are perceived as a
geometrical structure lying in depth. These spaces are not in the
physical optics of the situation, but in the organization of
sensory input by the neural system. Such clearly constructed
purely synthetic spaces have the same basic quality as the spaces
of ordinary experience, and there is a continuous spectrum of
spatial experiences between them.
Sensory spaces are not known by direct apperception, but are
generated by neural activity coordinated with surrounding
physical space. Much of sensation is not experienced at the
location of the nerves that support it. This is vividly
illustrated by the amputee's experience of the phantom limb. The
colors that are induced by the flicker of a strobe seem to be in
front of the face, not at the retina or visual cortex. This
disparity between the location of a nerve and its sensation
indicates that the whole field of a person's sensation is a
projection, for there is no difference between the sensation of a
nerve stimulated in these unusual ways and one that has been
simulated by natural agents.
The topology of the neural network and its events has no
necessary resemblance to the topology of the sensory experiences.
The physical events in the brain that support sensory or dream
space may be highly scattered, but the operations between them
give the feeling of contiguity which is spatially convincing. The
source of sensory spaces is neural events in physical space, but
their geometry is not in physical space.
The union of general sensory space and physical space is the
ordinary space experienced in daily life. The familiar world is
the union of ordinary space and experience which has location in
this space. Dreams and drug deliriums are not in the ordinary
external world, but their spaces can be so well developed that
the perspective of objects actually changes to correspond with
the movements of the observer within them. Hallucinations are
false perceptions that appear to be located in ordinary space.
Visual afterimages are an interface between visual and physical
spaces. They have definite locations in the immediate
two-dimensional visual manifolds, but not in the
three-dimensional general sensory space or in physical space.
Conclusion
A manifold is an ordered assemblage of elements each uniquely
located by exactly n specific descriptions. Space is a special
kind of manifold. Spaces are of many varieties from
Poincaré's sensory spaces to ideal
mathematical spaces, dream spaces, and hybrid spaces such as
general sensory space. Understanding spaces as manifolds clearly
shows how spaces can be distorted, and generated, and how sensory
and dream spaces can have extension which does not conflict with
the extension of physical space.