East Asians and Westerners differ in various aspects of perception and cognition. For example, visual memory for East Asians is believed to be more influenced by the contextual aspects of a scene than is the case for Westerners (Masuda & Nisbett, 2001). There are also differences in visual search: for Westerners, search for a long line among short is faster than for short among long, whereas this difference does not appear to hold for East Asians (Ueda et al., (...) submitted). However, it is unclear how these group-level differences originate. To investigate the extent to which they depend upon environment, we tested visual search and visual memory in East Asian immigrants who had lived in Canada for different amounts of time. Recent immigrants were found to exhibit no search asymmetry, unlike Westerners who had spent their lives in Canada. However, immigrants who had lived in Canada for more than two years showed performance comparable to that of Westerners. These differences could not be explained by the general analytic/holistic processing distinction believed to differentiate Westerners and East Asians, since all observers showed a strong holistic tendency for visual recognition. Results instead support the suggestion that exposure to a new environment can significantly affect the particular processes used to perceive a given stimulus. (shrink)

Experiments are presented showing that visual search for Mueller-Lyer (ML) stimuli is based on complete configurations, rather than component segments. Segments easily detected in isolation were difficult to detect when embedded in a configuration, indicating preemption by low-level groups. This preemption—which caused stimulus components to become inaccessible to rapid search—was an all-or-nothing effect, and so could serve as a powerful test of grouping. It is shown that these effects are unlikely to be due to blurring by simple spatial (...) filters at early visual levels. It is proposed instead that they are due to more sophisticated processes that rapidly bind contour fragments into spatially-extended assemblies. These results support the view that rapid visual search cannot access the primitives formed at the earliest stages of visual processing; rather, it can access only higher-level, more ecologically-relevant structures. (shrink)

We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify (...) figure-ground segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

Increasing behavioural evidence suggests that expert video game players (VGPs) show enhanced visual attention and visuospatial abilities, but what underlies these enhancements remains unclear. We administered the Poffenberger paradigm with concurrent electroencephalogram (EEG) recording to assess occipital N1 latencies and interhemispheric transfer time (IHTT) in expert VGPs. Participants comprised 15 right-handed male expert VGPs and 16 non-VGP controls matched for age, handedness, IQ and years of education. Expert VGPs began playing before age 10, had a minimum 8 years experience, (...) and maintained playtime of at least 20 hours per week over the last 6 months. Non-VGPs had little-to-no game play experience (maximum 1.5 years). Participants responded to checkerboard stimuli presented to the left and right visual fields while 128-channel EEG was recorded. Expert VGPs responded significantly more quickly than non-VGPs. Expert VGPs also had significantly earlier occipital N1s in direct visual pathways (the hemisphere contralateral to the visual field in which the stimulus was presented). IHTT was calculated by comparing the latencies of occipital N1 components between hemispheres. No significant between-group differences in electrophysiological estimates of IHTT were found. Shorter N1 latencies may enable expert VGPs to discriminate attended visual stimuli significantly earlier than non-VGPs and contribute to faster responding in visual tasks. As successful video-game play requires precise, time pressured, bimanual motor movements in response to complex visual stimuli, which in this sample began during early childhood, these differences may reflect the experience and training involved during the development of video-game expertise, but training studies are needed to test this prediction. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

It is commonly believed that human perceptual experiences can be, and usually are, multimodal. What is more, a stronger thesis is often proposed that some perceptual multimodal characters cannot be described simply as a conjunction of unimodal phenomenal elements. If it is the case, then a question arises: what is the additional mode of combination that is required to adequately describe the phenomenal structure of multimodal experiences? The paper investigates what types of audio–visual experiences have phenomenal character that cannot (...) be analysed as a mere conjunction of visual and auditory elements; and how can we properly characterise the required, additional mode of perceptual combination. Three main modes of combination are considered: instantiation, parthood, and grouping. It is argued that some phenomena involving intermodal relations, like spatial and temporal ventriloquism, can be analysed in terms of audio–visual, perceptual grouping. On the other hand, cases of intermodal binding need a different treatment. Experiences involving audio–visual binding should be analysed as experiences presenting objects or events which instantiate, or which have a proper part instantiating, both visually and auditorily determined properties. (shrink)

The laws and principles which predict how perceptual qualities can be extracted from the most elementary visual signals were discovered by the Gestalt psychologists(e.g., Wertheimer,1923; Metzger,1930, translated and re-editedbySpillmann in 2009 and2012, respectively). Their seminal work has inspired visual science ever since, andhas led to exciting discoveries which have confirmed the Gestalt idea that the human brain would have an astonishing capacity for selecting and combining critical visual signals to generate output representations for decision making and action. (...) This capacity of selection and integration enables the perception of form and space, and the correct estimation of relative positions, trajectories, and distances of objects represented in planar images. This paper addresses problems of perceptual organization with critical implications for visual interfaces, and the design of surgical simulator platforms in particular. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

This article introduces an experimental paradigm to selectively probe the multiple levels of visual processing that influence the formation of object contours, perceptual boundaries, and illusory contours. The experiments test the assumption that, to integrate contour information across space and contrast sign, a spatially short-range filtering process that is sensitive to contrast polarity inputs to a spatially long-range grouping process that pools signals from opposite contrast polarities. The stimuli consisted of thin subthreshold lines, flashed upon gaps between collinear (...) inducers which potentially enable the formation of illusory contours. The subthreshold lines were composed of one or more segments with opposite contrast polarities. The polarity nearest to the inducers was varied to differentially excite the short-range filtering process. The experimental results are consistent with neurophysiological evidence for cortical mechanisms of contour processing and with the Boundary Contour System model, which identifies the short-range filtering process with cortical simple cells, and the long-range grouping process with cortical bipole cells. (shrink)

Background -/- Previous literature suggests that those with reading disability (RD) have more pronounced deficits during semantic processing in reading as compared to listening comprehension. This discrepancy has been supported by recent neuroimaging studies showing abnormal activity in RD during semantic processing in the visual but not in the auditory modality. Whether effective connectivity between brain regions in RD could also show this pattern of discrepancy has not been investigated. Methodology/Principal Findings -/- Children (8- to 14-year-olds) were given a (...) semantic task in the visual and auditory modality that required an association judgment as to whether two sequentially presented words were associated. Effective connectivity was investigated using Dynamic Causal Modeling (DCM) on functional magnetic resonance imaging (fMRI) data. Bayesian Model Selection (BMS) was used separately for each modality to find a winning family of DCM models separately for typically developing (TD) and RD children. BMS yielded the same winning family with modulatory effects on bottom-up connections from the input regions to middle temporal gyrus (MTG) and inferior frontal gyrus(IFG) with inconclusive evidence regarding top-down modulations. Bayesian Model Averaging (BMA) was thus conducted across models in this winning family and compared across groups. The bottom-up effect from the fusiform gyrus (FG) to MTG rather than the top-down effect from IFG to MTG was stronger in TD compared to RD for the visual modality. The stronger bottom-up influence in TD was only evident for related word pairs but not for unrelated pairs. No group differences were noted in the auditory modality. Conclusions/Significance -/- This study revealed a modality-specific deficit for children with RD in bottom-up effective connectivity from orthographic to semantic processing regions. There were no group differences in connectivity from frontal regions, suggesting that the core deficit in RD is not in top-down modulation. (shrink)

The International Severe Acute Respiratory and Emerging Infection Consortium (ISARIC) COVID-19 dataset is one of the largest international databases of prospectively collected clinical data on people hospitalized with COVID-19. This dataset was compiled during the COVID-19 pandemic by a network of hospitals that collect data using the ISARIC-World Health Organization Clinical Characterization Protocol and data tools. The database includes data from more than 705,000 patients, collected in more than 60 countries and 1,500 centres worldwide. Patient data are available from acute (...) hospital admissions with COVID-19 and outpatient follow-ups. The data include signs and symptoms, pre-existing comorbidities, vital signs, chronic and acute treatments, complications, dates of hospitalization and discharge, mortality, viral strains, vaccination status, and other data. Here, we present the dataset characteristics, explain its architecture and how to gain access, and provide tools to facilitate its use. (shrink)

Traditionally, vision science and information/data visualization have interacted by using knowledge of human vision to help design effective displays. It is argued here, however, that this interaction can also go in the opposite direction: the investigation of successful visualizations can lead to the discovery of interesting new issues and phenomena in visual perception. Various studies are reviewed showing how this has been done for two areas of visualization, namely, graphical representations and interaction, which lend themselves to work on (...) class='Hi'>visual processing and the control of visual operations, respectively. The results of these studies have provided new insights into aspects of vision such as grouping, attentional selection and the sequencing of visual operations. More generally yet, such results support the view that the perception of visualizations can be a useful domain for exploring the nature of visual cognition, inspiring new kinds of questions as well as casting new light on the limits to which information can be conveyed visually. (shrink)

Metacontrast is a visual illusion in which the visibility of a target stimulus is virtually lost when immediately followed by a nonoverlapping mask stimulus. For a colored target, metacontrast is color-selective, with target visibility markedly reduced when the mask and target are the same color, but only slightly reduced when the colors differ. This study investigated neural correlates of color-selective metacontrast for cone-opponent red and green stimuli in the human V1, V2, and V3 using functional magnetic resonance imaging. Neural (...) activity was suppressed when the target was rendered less visible by the same-colored mask, and the suppression was localized in the cortical region retinotopically representing the target, correlating with the perceptual topography of visibility/invisibility rather than the physical topography of the stimulus. Retinotopy-based group analysis found that activity suppression was statistically significant for V2 and V3 and that its localization to the target region was statistically significant for V2. These results suggest that retinotopic color representations in early visual areas, especially in V2, are closely linked to the visibility of color. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use (...) of logical variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

This article wants to analyze how Man Rayin his photographs, engages a poetry of silenceusing this medium as a poetic communication technology. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoricand the Treatise on the Visual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the (...) metaphors and metonymy engaged in metasememes of the photos studied. (shrink)

Perceptual neuroscience has identified mechanisms of perceptual grouping which account for the ways in which visual sensitivity to ordered structure and regularities expresses itself, in behavior and in the brain. The need to actively construct order, notably representations of objects in depth, is mandated as soon as visual signals reach the retina, given the occlusion of retinal signals by retinal veins and other retinal elements or blur. Multiple stages of neural processing transform fragmented signals into visual (...) key representations of 3D scenes that can be used to control effective behaviors. Since our survival depends on our ability to pick up order in the physical world, and since we conceive the physical world as an ordered one, our perception must somehow be sensitive to order. The articles from this collection illustrate how texture dissimilarity, boundary completion, surface filling-in, and figure-ground segregation generate perceptual order. (shrink)

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...) a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

This book consists of an edited collection of original essays of the highest academic quality by seasoned experts in their fields of cognitive science. The essays are interdisciplinary, drawing from many of the fields known collectively as “the cognitive sciences.” Topics discussed represent a significant cross-section of the most current and interesting issues in cognitive science. Specific topics include matters regarding machine learning and cognitive architecture, the nature of cognitive content, the relationship of information to cognition, the role of language (...) and communication in cognition, the nature of embodied cognition, selective topics in visual cognition, brain connectivity, computation and simulation, social and technological issues within the cognitive sciences, and significant issues in the history of neuroscience. This book will be of interest to both professional researchers and newer students and graduate students in the fields of cognitive science—including computer science, linguistics, philosophy, psychology and neuroscience. The essays are in English and are designed to be as free as possible of technical jargon and therefore accessible to young scholars and to scholars who are new to the cognitive neurosciences. In addition to several entries by single authors, the book contains several interesting roundtables where researchers contribute answers to a central question presented to those in the focus group on one of the core areas listed above. This exciting approach provides a variety of perspectives from across disciplines on topics of current concern in the cognitive sciences. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

An age-old proposal that to be is to be a unity, or what I call a grouping, is updated and applied to the question “Why is there something rather than nothing?” (WSRTN). I propose the straight-forward idea that a thing exists if it is a grouping which ties zero or more things together into a new unit whole and existent entity. A grouping is visually manifested as the surface, or boundary, of the thing. In regard to WSRTN, (...) when we subtract away all existent entities, the resulting "nothing" is the entirety, the all. That “nothing is the complete definition of the situation. An entirety/all is a grouping, meaning that “nothing” is itself an existent entity. One objection might be that being a grouping is a property so how can it be there in "nothing"? The answer is that it is only once all known existent entities, including all properties and the mind visualizing this, are removed does this “nothing” gain the entirety/all grouping property. Therefore, the very lack of all existent entities is itself what allows this new property to be present and thereby to allow "nothing" to be an existent entity. This entirety/all grouping property is inherent, or intrinsic, to “nothing” and cannot be removed to get a more pure “nothing”. While the ideas that “nothing” is a “something” that exists necessarily isn’t new, the grouping, or any, mechanism for how this can be so is. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

P.F. Strawson argued that ‘mature sensible experience (in general) presents itself as … an immediate consciousness of the existence of things outside us’ (1979: 97). He began his defence of this very natural idea by asking how someone might typically give a description of their current visual experience, and offered this example of such a description: ‘I see the red light of the setting sun filtering through the black and thickly clustered branches of the elms; I see the dappled (...) deer grazing in groups on the vivid green grass…’ (1979: 97). In other words, in describing experience, we tend to describe the objects of experience – the things which we experience – and the ways they are when we are experiencing them. Some go further. According to Heidegger. (shrink)

The thresholds of human observers detecting line targets improve significantly when the targets are presented in a spatial context of collinear inducing stimuli. This phenomenon is referred to as spatial facilitation, and may reflect the output of long-range interactions between cortical feature detectors. Spatial facilitation has thus far been observed with luminance-defined, achromatic stimuli on achromatic backgrounds. This study compares spatial facilitation with line targets and collinear, edge-like inducers defined by luminance contrast to spatial facilitation with targets and inducers defined (...) by color contrast. The results of a first experiment show that achromatic inducers facilitate the detection of achromatic targets on gray and colored backgrounds, but tend to suppress the detection of chromatic targets. Chromatic inducers facilitate the detection of chromatic targets on gray and colored backgrounds, but tend to suppress the detection of achromatic targets. Chromatic spatial facilitation appears to be strongest when inducers and background are isoluminant. The results of a second experiment show that spatial facilitation with chromatic targets and inducers requires a longer exposure duration of the inducers than spatial facilitation with achromatic targets and inducers, which is already fully effective at an inducer exposure of 30 ms only. The findings point towards two separate mechanisms for spatial facilitation with collinear form stimuli: one that operates in the domain of luminance, and one that operates in the domain of color contrast. These results are consistent with neural models of boundary and surface formation which suggest that achromatic and chromatic visual cues are represented on different cortical surface representations that are capable of selectively attracting attention. Multiple copies of these achromatic and chromatic surface representations exist corresponding to different ranges of perceived depth from an observer, and each can attract attention to itself. Color and contrast differences between inducing and test stimuli, and transient responses to inducing stimuli, can cause attention to shift across these surface representations in ways that sometimes enhance and sometimes interfere with target detection. (shrink)

We show that early vision can use monocular cues to rapidly complete partially-occluded objects. Visual search for easily detected fragments becomes difficult when the completed shape is similar to others in the display; conversely, search for fragments that are difficult to detect becomes easy when the completed shape is distinctive. Results indicate that completion occurs via the occlusion-triggered removal of occlusion edges and linking of associated regions. We fail to find evidence for a visible filling-in of contours or surfaces, (...) but do find evidence for a "functional" filling-in that prevents the constituent fragments from being rapidly accessed. As such, it is only the completed structures—and not the fragments themselves—that serve as the basis for rapid recognition. (shrink)

Current research on the origin of DNA and RNA, viruses, and mobile genetic elements prompts a re-evaluation of the origin and nature of genetic material as the driving force behind evolutionary novelty. While scholars used to think that novel features resulted from random genetic mutations of an individual’s specific genome, today we recognize the important role that acquired viruses and mobile genetic elements have played in introducing evolutionary novelty within the genomes of species. Viral infections and subviral RNAs can enter (...) the host genome and persist as genetic regulatory networks. Persistent viral infections are also important to understand the split between great apes and humans. Nearly all mammals and nonhuman primates rely on olfaction, i.e., chemoreception as the basis of the sense of smell for social recognition, group membership, and the coordination of organized social life. Humans, however, evolved other means to establish social bonding, because several infection waves by endogenous retroviruses caused a loss of odor receptors in human ancestors. The human independence from olfaction for social recognition was in turn one driver of the rather abrupt human transition to dependence on visual information, gesture production, and facial recognition that are at the roots of language-based communication. (shrink)

We show that true colors as defined by Chevreul (1839) produce unsuspected simultaneous brightness induction effects on their immediate grey backgrounds when these are placed on a darker (black) general background surrounding two spatially separated configurations. Assimilation and apparent contrast may occur in one and the same stimulus display. We examined the possible link between these effects and the perceived depth of the color patterns which induce them as a function of their luminance contrast. Patterns of square-shaped inducers of a (...) single color (red, green, blue, yellow, or grey) were placed on background fields of a lighter and a darker grey, presented on a darker screen. Inducers were always darker on one side of the display and brighter on the other in a given trial. The intensity of the grey backgrounds varied between trials only. This permitted generating four inducer luminance contrasts, presented in random order, for each color. Background fields were either spatially separated or consisted of a single grey field on the black screen. Experiments were run under three environmental conditions: dark-adaptation, daylight, and rod-saturation after exposure to bright light. In a first task, we measured probabilities of contrast, assimilation, and no effect in a three-alternative forced-choice procedure (background appears brighter on the ‘left’, on the ‘right’ or the ‘same’). Visual adaptation and inducer contrast had no significant influence on the induction effects produced by colored inducers. Achromatic inducers produced significantly stronger contrast effects after dark-adaptation, and significantly stronger assimilation in daylight conditions. Grouping two backgrounds into a single one was found to significantly decrease probabilities of apparent contrast. Under the same conditions, we measured probabilities of the inducers to be perceived as nearer to the observer inducers. These, as predicted by Chevreul’s law of contrast, were determined by the luminance contrast of the inducers only, with significantly higher probabilities of brighter inducers to be seen as nearer, and a marked asymmetry between effects produced by inducers of opposite sign. Implications of these findings for theories which attempt to link simultaneous induction effects to the relative depth of object surfaces in the visual field are discussed. (shrink)

In a multi-study naturalistic quasi-experiment involving 269 students in a semester-long introductory philosophy course, we investigated the effect of teaching argument diagramming on students’ scores on argument analysis tasks. An argument diagram is a visual representation of the content and structure of an argument. In each study, all of the students completed pre- and posttests containing argument analysis tasks. During the semester, the treatment group was taught AD, while the control group was not. The results were that among the (...) different pretest achievement levels, the scores of low-achieving students who were taught AD increased significantly more than the scores of low-achieving students who were not taught AD, while the scores of the intermediate- and high-achieving students did not differ significantly between the treatment and control groups. The implication of these studies is that learning AD significantly improves low-achieving students’ ability to analyze arguments. (shrink)

Noah Rosenberg et al.'s 2002 article “Genetic Structure of Human Populations” reported that multivariate genomic analysis of a large cell line panel yielded reproducible groupings (clusters) suggestive of individuals' geographical origins. The paper has been repeatedly cited as evidence that traditional notions of race have a biological basis, a claim its authors do not make. Critics of this misinterpretation have often suggested that it follows from interpreters' personal biases skewing the reception of an objective piece of scientific writing. I contend, (...) however, that the article itself to some degree facilitates this misrepresentation. I analyze in detail several verbal and visual features of the original article that may predispose aspects of its racial interpretation; and, tracing the arguments of one philosopher and one popular science writer, I show how these features are absorbed, transformed into arguments for a biological basis of race, and re-attributed to the original. The essay demonstrates how even slight ambiguities can enable the misappropriation of scientific writing, unintentionally undermining the authors' stated circumspection on the relationship between cluster and race. (shrink)

Recent research has begun to investigate sensory processing in relation to nonclinical variation in traits associated with the autism spectrum disorders (ASD). We propose that existing accounts of autistic perception can be augmented by considering a role for individual differences in top-down expectations for the precision of sensory input, related to the processing of state-dependent levels of uncertainty. We therefore examined ASD-like traits in relation to the rubber-hand illusion: an experimental paradigm that typically elicits crossmodal integration of visual, tactile, (...) and proprioceptive information in an unusual illusory context. Individuals with higher ASD-like traits showed reduced effects of the rubber-hand illusion on perceived arm position and reach-to-grasp movements, compared to individuals with lower ASD-like traits. These differences occurred despite both groups reporting the typical subjective experience of the illusion concerning visuotactile integration and ownership for the rubber hand. Together these results suggest that the integration of proprioceptive information with cues for arm position derived from the illusory context differs between individuals partly in relation to traits associated with ASD. We suggest that the observed differences in sensory integration can be best explained in terms of differing expectations regarding the precision of sensory estimates in contexts that suggest uncertainty. (shrink)

The experiments reported herein probe the visual cortical mechanisms that control near–far percepts in response to two-dimensional stimuli. Figural contrast is found to be a principal factor for the emergence of percepts of near versus far in pictorial stimuli, especially when stimulus duration is brief. Pictorial factors such as interposition (Experiment 1) and partial occlusion Experiments 2 and 3) may cooperate, as generally predicted by cue combination models, or compete with contrast factors in the manner predicted by the FACADE (...) model. In particular, if the geometrical conŽ guration of an image favors activation of cortical bipole grouping cells, as at the top of a T-junction, then this advantage can cooperate with the contrast of the conŽ guration to facilitate a near–far percept at a lower contrast than at an X-junction. Varying the exposure duration of the stimuli shows that the more balanced bipole competition in the X-junction case takes longer exposure times to resolve than the bipole competition in the T-junction case (Experiment 3). (shrink)

This article wants to analyze how Candido Portinari in his paintings with rural theme, engages a poetry of silence. To understand the functioning of this poetic language, we will adopt the Groupe μ analysis method (both the General Rhetoric andthe Treatise on theVisual Sign). Whereas the language is manifold as the forms of representation, and it present in all media, whatever the lack of speech -silence -would find its richest form in both directions through the metaphors and metonymy engaged in (...) metasememes of the paintings studied. (shrink)

This study examines the relation of language use to a person’s ability to perform categorization tasks and to assess their own abilities in those categorization tasks. A silent rhyming task was used to confirm that a group of people with post-stroke aphasia (PWA) had corresponding covert language production (or “inner speech”) impairments. The performance of the PWA was then compared to that of age- and education-matched healthy controls on three kinds of categorization tasks and on metacognitive self-assessments of their performance (...) on those tasks. The PWA showed no deficits in their ability to categorize objects for any of the three trial types (visual, thematic, and categorial). However, on the categorial trials, their metacognitive assessments of whether they had categorized correctly were less reliable than those of the control group. The categorial trials were distinguished from the others by the fact that the categorization could not be based on some immediately perceptible feature or on the objects’ being found together in a type of scenario or setting. This result offers preliminary evidence for a link between covert language use and a specific form of metacognition. (shrink)

This study aimed to evaluate if eye blinks can be used to discriminate players with different performance in a session of Nintendo Entertainment System (NES) Tetris. To that end, we developed a state-of-the-art method for blink extraction from EAR measures, which is robust enough to be used with data collected by a low-grade webcam such as the ones widely available on laptop computers. Our results show a significant decrease in blink rate per minute (blinks/m) during the first minute of playing (...) Tetris. After having defined 3 groups of proficiency based on in-game performance (Novices, Intermediates, and Experts) we found out that expert players display a significantly lower decrease in blinks/m compared to novices during the first minute of gameplay, which shows that Tetris players' proficiency can be detected by looking at eye blinks/m variations during the early phase of a game session. This difference in blinks/m is observed throughout the entire game session, which supports the general conclusion that proficient Tetris players have a lower decrease in blinks/m, even when playing more difficult levels. Finally, we offer some interpretations of this effect and the relationship that our results may have with the visual cognitive workload experienced during the gameplay. (shrink)

Ensemble perception—the encoding of objects by their group properties—is known to be resistant to outlier noise. However, this resistance is somewhat paradoxical: how can the visual system determine which stimuli are outliers without already having derived statistical properties of the ensemble? A simple solution would be that ensemble perception is not a simple, one-step process; instead, outliers are detected through iterative computations that identify items with high deviance from the mean and reduce their weight in the representation over time. (...) Here we tested this hypothesis. In Experiment 1, we found evidence that outliers are discounted from mean orientation judgments, extending previous results from ensemble face perception. In Experiment 2, we tested the timing of outlier rejection by having participants perform speeded judgments of sets with or without outliers. We observed significant increases in reaction time (RT) when outliers were present, but a decrease compared to no-outlier sets of matched range suggesting that range alone did not drive RTs. In Experiment 3 we tested the timing by which outlier noise reduces over time. We presented sets for variable exposure durations and found that noise decreases linearly over time. Altogether these results suggest that ensemble representations are optimized through iterative computations aimed at reducing noise. The finding that ensemble perception is an iterative process provides a useful framework for understanding contextual effects on ensemble perception. (shrink)

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. (shrink)

Are people with flawed faces regarded as having flawed moral characters? An “anomalous-is-bad” stereotype is hypothesized to facilitate negative biases against people with facial anomalies (e.g., scars), but whether and how these biases affect behavior and brain functioning remain open questions. We examined responses to anomalous faces in the brain (using a visual oddball paradigm), behavior (in economic games), and attitudes. At the level of the brain, the amygdala demonstrated a specific neural response to anomalous faces—sensitive to disgust and (...) a lack of beauty but independent of responses to salience or arousal. At the level of behavior, people with anomalous faces were subjected to less prosociality from participants highest in socioeconomic status. At the level of attitudes, we replicated previously reported negative character evaluations made about individuals with facial anomalies, and further identified explicit biases directed against them as a group. Across these levels of organization, the specific amygdala response to facial anomalies correlated with stronger just-world beliefs (i.e., people get what they deserve), less dispositional empathic concern, and less prosociality toward people with facial anomalies. Characterizing the “anomalous-is-bad” stereotype at multiple levels of organization can reveal underappreciated psychological burdens shouldered by people who look different. (shrink)

Following the pioneering studies of the receptive field (RF), the concept gained further significance for visual perception by the discovery of input effects from beyond the classical RF. These studies demonstrated that neuronal responses could be modulated by stimuli outside their RFs, consistent with the perception of induced brightness, color, orientation, and motion. Lesion scotomata are similarly modulated perceptually from the surround by RFs that have migrated from the interior to the outer edge of the scotoma and in this (...) way provide filling-in of the void. Large RFs are advantageous to this task. In higher visual areas, such as the middle temporal and inferotemporal lobe, RFs increase in size and lose most of their retinotopic organization while encoding increasingly complex features. Whereas lowerlevel RFs mediate perceptual filling-in, contour integration, and figure–ground segregation, RFs at higher levels serve the perception of grouping by common fate, biological motion, and other biologically relevant stimuli, such as faces. Studies in alert monkeys while freely viewing natural scenes showed that classical and nonclassical RFs cooperate in forming representations of the visual world. Today, our understanding of the mechanisms underlying the RF is undergoing a quantum leap. What had started out as a hierarchical feedforward concept for simple stimuli, such as spots, lines, and bars, now refers to mechanisms involving ascending, descending, and lateral signal flow. By extension of the bottom-up paradigm, RFs are nowadays understood as adaptive processors, enabling the predictive coding of complex scenes. Top-down effects guiding attention and tuned to task-relevant information complement the bottom-up analysis. (shrink)

The chapter presents the prototyping of a thinking routine designed to foster good inference habits in children ages 6 to 11. The prototyping was developed at Ninho, an educational project for children from underprivileged households in Brazil. The thinking routines by Ritchhart and colleagues (2006) served as our starting point. Following a Virtue Education (VE) approach, we supposed that the repeated application would conduce to habituation. In addition, to increase peer-to-peer interactions, the teacher applying the routines worked as a facilitator (...) in a Community of Inquiry (CI). After six months of application, the results were partially successful. We identified that the repeated exposition to the magic question “What makes you say that?” made children more aware of the evidence supporting their assumptions. Furthermore, the interactions between peers made them recognize different perspectives. However, we also identified some shortcomings. Most of them seemed to arise from cognitive biases. At the individual level, belief perseverance kept children too attached to their first assumptions. They preferred self-serving rationalizations instead of accepting a counter-argument. At the group level, we identified problems of social contagion such as information cascades. The effects of a first opinion rhetorically voiced were hard to efface. Since none of the steps on the previous routines addressed these biases, we prototyped a routine to start filling this gap. Following Critical Thinking (CT) theorists, we added a step of structured instruction concerning one specific reasoning technique - the inference to the best explanation. Moreover, the recommendation of cognitive psychologists motivated the inclusion of some extra features to avoid groupthink biases. For instance, a visual table that juxtaposes contrasting arguments should facilitate comparative evaluations. Also, a star-based evaluation scale should help different individuals to discuss their assessments based on a common ground. As described in the end, the prototype with elements from VE, CI and CT presented promising results. (shrink)

Maps provide us with an easily recognizable version of the new demarcation problem: On the one hand, we are all familiar with graphics and maps that unacceptably distort our perceptions without being technically inaccurate or fictive; indeed there are whole websites groups devoted to curating such images for fun. On the other hand, there are multiple unavoidably value-laden choices that must be made in the production of any map. Producing a map requires choosing everything from the colors and thicknesses of (...) the lines, the scale, the projection system, the categories and parameters represented, and much more. There is no neutral default for any of these choices, and all of them shape what information the map communicates. All the visual choices involved in producing a map enable some information to be conveyed at the cost of hiding or distorting other information, as map makers themselves routinely acknowledge and discuss. Hence there are no straightforward answers to questions about the line between distortion and legitimate representational choices. I explore three distinctive kinds of epistemic risks in map-making that generate special versions of the demarcation problem, which I dub aesthetic risk, categorization risk, and simplification risk. I argue that in each case, even good maps – maps that are accurate and epistemically valuable – have the potential to mislead us. I end by looking at maps that offer special epistemic benefits by making clear their own lack of value-neutrality while still being accurate and epistemically fecund. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

The title of this piece is meant to evoke at least three sources. The first – and perhaps the only obvious one – concerns the ability of holograms to display parallax, a shifting of visual viewpoint that allows a three-dimensional image to reveal background objects behind those in the foreground. This parallax view is a unique feature of holograms as visual media. A second allusion is to the American film The Parallax View (1974, director A. J. Pakula), a (...) rather paranoid thriller focusing on conspiracy theories concerning government and corporations. To a casual observer, the bare details of the military origins of holography suggest just such cynical and centrally-directed development, although I hope to dispel such simplistic ideas here. And a third passing reference is to the book The Parallax View (2006) by Slavoj Zizek, a wide-ranging and deep exploration of duality in political views, ontological interpretations and scientific methods, among other topics. Zizek’s theme, as well as Pakula’s, is relevant to my approach, which focuses on a parallax of both practice and intent. During the first successful decade of holography, conflicting viewpoints developed between distinct communities: the militarily-guided engineers who invented practical holography, and the later imaging scientists and artisans who stressed three-dimensionality and other attributes instead of the original goal of optical image processing. I argue that distinct groups of users had different perceptions of what holography is and what it is for. (shrink)

The segregation of image parts into foreground and background is an important aspect of the neural computation of 3D scene perception. To achieve such segregation, the brain needs information about border ownership; that is, the belongingness of a contour to a specific surface represented in the image. This article presents psychophysical data derived from 3D percepts of figure and ground that were generated by presenting 2D images composed of spatially disjoint shapes that pointed inward or outward relative to the continuous (...) boundaries that they induced along their collinear edges. The shapes in some images had the same contrast (black or white) with respect to the background gray. Other images included opposite contrasts along each induced continuous boundary. Psychophysical results demonstrate conditions under which figure-ground judgment probabilities in response to these ambiguous displays are determined by the orientation of contrasts only, not by their relative contrasts, despite the fact that many border ownership cells in cortical area V2 respond to a preferred relative contrast. Studies are also reviewed in which both polarity-specific and polarity-invariant properties obtain perceptual figure-ground grouping results. The FACADE and 3D LAMINART models are used to explain these data. Keywords: figure-ground separation, border ownership, perceptual grouping, surface filling-in, V2, V4, FACADE Theory. (shrink)

Background: Although inclusive education is widely discussed, its implementation has not, arguably, been far-reaching. There remains a lack of specific, targeted approaches towards fully including learners with physical and mental impairments in the educational space. Objectives: This study investigated the extent of the inclusion of learners with autism spectrum disorder (ASD) in three schools in Johannesburg. Method: A qualitative interpretivist design was adopted. Teachers who work with learners with ASD were interviewed using open-ended questions. The sampled data were analysed using (...) thematic analysis, making use of both a priori codes and emergent codes that arose from the open-ended questions. Results: The findings reveal numerous pedagogic strategies such as differentiation, scaffolding, use of visual cues, group work and collaboration that can include learners with ASD in the classroom space. Conclusion: Teacher collaboration and teacher training are vital in ensuring that learners with ASD are fully included in the classroom space. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and (...) philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

The purpose of this essay is to make the case that the ethical issues raised by the current U.S. practice of direct-to-consumer prescription drug advertising are worthy of study in philosophy courses, and to provide instructors with some ideas for how they might approach teaching the topic, despite the current relative scarcity of philosophical literature published on it. This topic presents a unique opportunity to cover ground in ethics, critical thinking, and scientific literacy simultaneously. As a case study, the practice (...) of DTC advertising is both theoretically rich and universally relevant to students’ lives. The nature of these ads—numerous, diverse, visually and thematically entertaining—makes them delicious fodder for in-class activities, small group work, discussion-based learning, creative projects, and customizable essay topics. I offer a set of suggestions for approaching the study of DTC drug ads that is informed by my own experience doing so in bioethics courses. Ultimately, including this topic on your syllabus not only contributes to students’ philosophical skills and knowledge, but also helps them become better informed as citizens and potential “consumers” of health care. (shrink)

Given a subject so imbued with contention and conflicting theoretical stances, it is remarkable that automated instruments ever came to replace the human eye as sensitive arbiters of color specification. Yet, dramatic shifts in assumptions and practice did occur in the first half of the twentieth century. How and why was confidence transferred from careful observers to mechanized devices when the property being measured – color – had become so closely identified with human physiology and psychology? A fertile perspective on (...) the problem is via the history of science and technology, paying particular attention to social groups and disciplinary identity to determine how those factors affected their communities’ cognitive territory. There were both common and discordant threads motivating the various technical groups that took on the problems of measuring light and color from the late nineteenth century onwards, and leading them towards the development of appropriate instruments for themselves. The transition from visual to photoelectric methods could be portrayed as a natural evolution, replacing the eye by an alternative roviding more sensitivity and convenience – indeed, this is the conventional positivist view propounded by technical histories. However, the adoption of new measurement technologies seldom is simple, and frequently has a significant cultural component. Beneath this slide towards automation lay a raft of implicit assumptions about objectivity, the nature of the observer, the role of instruments, and the trade-offs between standardization and descriptive power. While espousing rational arguments for a physical detector of color, its proponents weighted their views with tacit considerations. The reassignment of trust from the eye to automated instruments was influenced as much by the historical context as by intellectual factors. I will argue that several distinct aspects were involved, which include the reductive view of color provided by the trichromatic theory; the impetus provided by its association with photometry; the expanding mood for a quantitative and objective approach to scientific observation; and, the pressures for commercial standardization. As suggested by these factors, there was another shift of authority at play: from one technical specialism to another. The regularization of color involved appropriation of the subject by a particular set of social interests: communities of physicists and engineers espousing a ‘physicalist’ interpretation, rather than psychologists and physiologists for whom color was conceived as a more complex phenomenon. Moreover, the sources for automated color measurement, and instrumentation for measuring color, were primarily from the industrial sphere rather than from academic science. To understand these shifts, then, this chapter explores differing views of the importance of observers, machines and automation. (shrink)

Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist (...) Christian churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celebrate violence, the other sees violence as a tool to both encourage ‘moral’ behaviour, and to show that the Christian church is able to ‘speak the language’ of young people who are fans of metal, gore, and horror. Explicit violence, in each case, signifies power relationships that are in transformation. Historically, medieval morality plays and morality cycles had been used as a pedagogical tool. In the modern-day context of fundamentalist religious education, these Hell House performances seek to exclude outsiders and solidify teen membership in the Christian community. Hell House performances are marketed to the young church members, and are seen as a way to reinvigorate conservative Fundamentalist Christianity. Women and girls routinely take part in, and often organize Hell House events. In the context of heavy metal, violent performances do not seek to exclude, but provide an outlet for a variety of socially unacceptable or unpopular feelings. In each context there is an apparent, if not actual, empowering of women who are willing to play particular kinds of roles. The use of violence and gore has a value beyond merely shocking the audience, it is arguably a way that some women find their voice, both for fundamentalist Christians and fundamentalist gore metal fans. (shrink)

This study, presenting a history of the measurement of light intensity from its first hesitant emergence to its gradual definition as a scientific subject, explores two major themes. The first concerns the adoption by the evolving physics and engineering communities of quantitative measures of light intensity around the turn of the twentieth century. The mathematisation of light measurement was a contentious process that hinged on finding an acceptable relationship between the mutable response of the human eye and the more easily (...) stabilised, but less encompassing, techniques of physical measurement. -/- A second theme is the exploration of light measurement as an example of ‘peripheral science’. Among the characteristics of such a science, I identify the lack of a coherent research tradition and the persistent partitioning of the subject between disparate groups of practitioners. Light measurement straddled the conventional categories of ‘science’ and ‘technology’, and was influenced by such distinct factors as utilitarian requirements, technological innovation, human perception and bureaucratisation. Peripheral fields such as this, which may be typical of much of modern science and technology, have hitherto received little attention from historians. -/- These themes are pursued with reference to the social and technological factors which were combined inextricably in the development of the subject. The intensity of light gained only sporadic attention until the late nineteenth century. Measured for the utilitarian needs of the gas lighting industry from the second half of the century, light intensity was appropriated by members of the nascent electric lighting industry, too, in their search for a standard of illumination. By the turn of the century the ‘illuminating engineering movement’ was becoming an organised, if eclectic, community which promoted research into and standards for the measurement of light intensity. -/- The twentieth-century development of the subject was moulded by organisation and institutionalisation. Between 1900 and 1920, the new national and industrial laboratories in Britain, America and Germany were crucial in stabilising the subject. In the inter-war period, committees and international commissions sought to standardise light measurement and to promote research. Such government- and industry-supported delegations, rather than academic institutions, were primarily responsible for the ‘construction’ of the subject. Practitioners increasingly came to interpret the three topics of photometry (visible light measurement), colorimetry (the measurement of colour) and radiometry (the measurement of invisible radiations) as aspects of a broader study, and enthusiastically applied them to industrial and scientific problems. -/- From the 1920s, the long-established visual methods of observation were increasingly replaced by physical means of light measurement, a process initially contingent on scientific fashion more than demonstrated superiority. New photoelectric techniques for measuring light intensity engendered new commercial instruments, a trend which accelerated in the following decade when photometric measurement was applied with limited success to a range of industrial problems. Seeds sowed in the 1920s – namely commercialisation and industrial application, the transition from visual to ‘physical’ methods, and the search for fundamental limitations in light measurement – gave the subject substantially the form it was to retain over the next half-century. (shrink)

Kevin Lynch's books are the classic underpinnings of modern urban planning and design, yet they are only a part of his rich legacy of ideas about human purposes and values in built form. City Sense and City Design brings together Lynch's remaining work, including professional design and planning projects that show how he translated many of his ideas and theories into practice. An invaluable sourcebook of design knowledge, City Sense and City Design completes the record of one of the foremost (...) environmental design theorists of our time and leads to a deeper understanding of his distinctively humanistic philosophy. The editors, both former students of Lynch, provide a cogent summary of his career and of the role he played in shaping and transforming the American urban design profession during the 1950s, the 1960s, and the 1970s. Each of the seven thematic groupings of writings and projects that follow begins with a short introduction explaining their content and their background. The essays in part I focus on the premises of Lynch's work: his novel reading of large-scale built environments and the notion that the design of an urban landscape should be as meaningful and intimate as the natural landscape. In part II, excerpts from Lynch's travel journals reveal his early ideas on how people perceive and interpret their surroundings—ideas that culminated in his seminal work, The Image of the City. This part of the book also presents Lynch's experiments with children and his assessment of environmental-perception research. The examples of both small-scale and large-scale analysis of visual form in part III are followed by three parts on city design. These include Lynch's more theoretical works on complex planning decisions involving both functional (spatial and structural organization) and normative (how the city works in human terms) approaches, articles discussing the principles that guided Lynch's teaching and practice of city design, and descriptions of Lynch's own projects in the Boston area and elsewhere. The book concludes with essays written late in Lynch's career, fantasy pieces describing utopias and offering new design freedoms and scenarios warning of horrifying "cacotopias.". (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)