As Macnamara (1978) once asked, how can we talk about what we see? We report on a study manipulating realistic dynamic scenes and sentences aiming to understand the interaction between linguistic and visual representations in real-world situations. Specifically, we monitored participants’ eye movements as they watched video clips of everyday scenes while listening to sentences describing these scenes. We manipulated two main variables. The first was the semantic class of the verb in the sentence and the second was the action/motion (...) of the agent in the unfolding event. The sentences employed two verb classes—causatives (e.g., break) and perception/psychological (e.g., notice)—which impose different constraints on the nouns that serve as their grammatical complements. The scenes depicted events in which agents either moved towards a target object (always the referent of the verb-complement noun), away from it, or remained neutral performing a given activity (such as cooking). Scenes and sentences were synchronized such that the verb onset corresponded to the first video frame of the agent motion towards or away from the object. Results show effects of agent motion but weak verb-semantic restrictions: causatives draw more attention to potential referents of their grammatical complements than perception verbs only when the agent moves towards the target object. Crucially, we found no anticipatory verb-driven eye movements toward the target object, contrary to studies using non-naturalistic and static scenes. We propose a model in which linguistic and visual computations in real-world situations occur largely independent of each other during the early moments of perceptual input, but rapidly interact at a central, conceptual system using a common, propositional code. Implications for language use in real world contexts are discussed. (shrink)

Scene Perception is the visual perception of an environment as viewed by an observer at any given time. It includes not only the perception of individual objects, but also such things as their relative locations, and expectations about what other kinds of objects might be encountered. -/- Given that scene perception is so effortless for most observers, it might be thought of as something easy to understand. However, the amount of effort required by a process often bears little (...) relation to its underlying complexity. A closer look shows that scene perception is a highly complex activity, and that any account of it must deal with several difficult issues: What exactly is a scene? What aspects of it do we represent? And what are the processes involved? Finding the answers to these questions has proven to be extraordinarily difficult. (shrink)

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. Front-end (...) processes occur during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

The notion of proof is central to mathematics yet it is one of the most difficult aspects of the subject to teach and master. In particular, undergraduate mathematics students often experience difficulties in understanding and constructing proofs. Understanding Mathematical Proof describes the nature of mathematical proof, explores the various techniques that mathematicians adopt to prove their results, and offers advice and strategies for constructing proofs. It will improve students’ ability to understand proofs and construct correct proofs of their (...) own. The first chapter of the text introduces the kind of reasoning that mathematicians use when writing their proofs and gives some example proofs to set the scene. The book then describes basic logic to enable an understanding of the structure of both individual mathematical statements and whole mathematical proofs. It also explains the notions of sets and functions and dissects several proofs with a view to exposing some of the underlying features common to most mathematical proofs. The remainder of the book delves further into different types of proof, including direct proof, proof using contrapositive, proof by contradiction, and mathematical induction. The authors also discuss existence and uniqueness proofs and the role of counter examples. (shrink)

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces? This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a (...) concrete scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue. Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible. (shrink)

In the process of children’s psychological development, various levels of psychological distress often occur, such as attention problems, emotional problems, adaptation problems, language problems, and motor coordination problems; these problems have seriously affected children’s healthy growth. Scene matching in the treatment of psychological distress can prompt children to change from a third-person perspective to a first-person perspective and shorten the distance between scene contents and child’s perceptual experience. As a part of machine learning, deep learning can perform mapping (...) transformations in huge data, process huge data with the help of complex models, and extract multilayer features of scene information. Based on the summary and analysis of previous research works, this paper expounded the research status and significance of the scene matching method for children’s psychological distress, elaborated the development background, current status, and future challenges of deep learning algorithm, introduced the methods and principles of depth spatiotemporal feature extraction algorithm and dynamic scene understanding algorithm, constructed a scene matching model for children’s psychological distress based on deep learning algorithm, analyzed the scene feature extraction and matching function construction of children’s psychological distress, proposed a scene matching method for children’s psychological distress based on deep learning algorithm, performed scene feature matching and information processing of children’s psychological distress, and finally conduced a simulation experiment and analyzed its results. The results show that the deep learning algorithm can have a deep and abstract mining on the characteristics of children’s psychological distress scenes and obtain a large amount of more representative characteristic information through training on large-scale data, thereby improving the accuracy of classification and matching of children’s psychological distress scenes. The study results of this paper provide a reference for further researches on the scene matching method for children’s psychological distress based on deep learning algorithm. (shrink)

How did cultural factors participate in the event of October in Chile? How were these factors related to each other? What implications did they have for collective action and social life? The purpose of the article is to carry out a cultural reading of the October event. To do this, a dialogue is proposed between cultural sociology and cultural studies, applied to the October protest movement, resorting to interpretive research tools. The appropriation of Plaza Italia, in Santiago, by the protesters, (...) is used in an illustrative way to highlight the cultural elements and their interactions. Among the findings, the production of meaning based on motifs and frames stands out, the production of its own symbolism and iconography and the deployment of performances that allow defining the Plaza itself as an artifact of protest. Then certain scopes of the above for civil society are discussed. It concludes with a projection of the work and a brief reflection on the relationship between social sciences and humanities to deploy an interpretive strategy of empirical research. (shrink)

Most everyday tasks involve multiple modalities, which raises the question of how the processing of these modalities is coordinated by the cognitive system. In this paper, we focus on the coordination of visual attention and linguistic processing during speaking. Previous research has shown that objects in a visual scene are fixated before they are mentioned, leading us to hypothesize that the scan pattern of a participant can be used to predict what he or she will say. We test this (...) hypothesis using a data set of cued scene descriptions of photo-realistic scenes. We demonstrate that similar scan patterns are correlated with similar sentences, within and between visual scenes; and that this correlation holds for three phases of the language production process (target identification, sentence planning, and speaking). We also present a simple algorithm that uses scan patterns to accurately predict associated sentences by utilizing similarity-based retrieval. (shrink)

We can understand viewed scenes and extract task-relevant information within a few hundred milliseconds. This process is generally supported by three cortical regions that show selectivity for scene images: parahippocampal place area (PPA), medial place area (MPA) and occipital place area (OPA). Prior studies have focused on the visual information each region is responsive to, usually within the context of recognition or navigation. Here, we move beyond these tasks to investigate gaze allocation during scene viewing. Eye movements rely (...) on a scene’s visual representation to direct saccades, and thus foveal vision. In particular, we focus on the contribution of OPA, which is i) located in occipito-parietal cortex, likely feeding information into parts of the dorsal pathway critical for eye movements, and ii) contains strong retinotopic representations of the contralateral visual field. Participants viewed scene images for 1034 ms while their eye movements were recorded. On half of the trials, a 500 ms train of five transcranial magnetic stimulation (TMS) pulses was applied to the participant’s cortex, starting at scene onset. TMS was applied to the right hemisphere over either OPA or the occipital face area (OFA), which also exhibits a contralateral visual field bias but shows selectivity for face stimuli. Participants generally made an overall left-to-right, top-to-bottom pattern of eye movements across all conditions. When TMS was applied to OPA, there was an increased saccade latency for eye movements toward the contralateral relative to the ipsilateral visual field after the final TMS pulse (400ms). Additionally, TMS to the OPA biased fixation positions away from the contralateral side of the scene compared to the control condition, while the OFA group showed no such effect. There was no effect on horizontal saccade amplitudes. These combined results suggest that OPA might serve to represent local scene information that can then be utilized by visuomotor control networks to guide gaze allocation in natural scenes. (shrink)

Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and (...) assumptions built into the analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey. (shrink)

I propose to demonstrate the clinical plausibility of the ‘psychotherapy scene’ of the Bacchae, which is subjected here to a purely psychiatric analysis: all my interpretations and conjectures are based on clinical data and psychiatric theory only. Euripides' objective and rational treatment of the irrational, the accuracy of his descriptions of abnormal behaviour, which are compatible, down to the last detail, with descriptions found in modern psychiatric texts, and his capacity to present not simply a partial list of symptoms, (...) but a coherent clinical picture are taken for granted and will not be discussed further in the present context. The focus of my enquiry is exclusively the psychiatric plausibility of Euripides' description of the psychotherapeutic process.It goes without saying that, since ‘instant cures’ are impossible, Euripides condensed a normally fairly long procedure into a single scene, selectively high-lighting only what would be the crucial moments of a real psychotherapy. His summary of the psychotherapy is as satisfactory as that of a modern psychiatrist. In fact, Euripides' masterly selectivity actually facilitates the understanding of the psychodynamics of Agave's recovery. This enables me to comment on the Euripidean text in exactly the same way as I commented on the verbatim transcript of the psychotherapy of one of my Plains Indian patients. (shrink)

In Wyoming Revisited, Michael A. Amundson uses the power of rephotography to show how landscapes across the state have endured over the last century. Three sets of photographs—the original black-and-white photographs taken by famed Wyoming photographer Joseph E. Stimson more than a century ago, repeat black-and-white images taken by Amundson in the 1980s, and a third view in color taken by the author in 2007–2008—are accompanied by captions explaining the history and importance of each site as well as information on (...) the process of repeat photographic fieldwork. The 117 locations feature street views of Wyoming towns and cities, as well as views from the state's famous natural landmarks like Yellowstone National Park, Grand Teton National Park, Devil's Tower National Monument, Hot Springs State Park, and Big Horn and Shoshone National Forests. In addition, Amundson provides six in-depth essays that explore the life of Joseph E. Stimson, the rephotographic process and how it has evolved, and how repeat photography can be used to understand history, landscape, historic preservation, and globalization. Wyoming Revisited highlights the historic evolution of the American West over the past century and showcases the significant changes that have occurred over the past twenty-five years. This book will appeal to photographers, historians of the American West, and anyone interested in Wyoming's history or landscape. The publication of this book is supported in part by the Wyoming Cultural Trust Fund. (shrink)

This volume juxtaposes philosophical and psychoanalytic speculation with literary and artistic commentary in order to approach a set of questions concerning the human relation to language. The multifold writing of the volume takes the form of a 'triptych' (following the model of works by Francis Bacon) rather than that of a thesis. The central section of the volume contains an extended dialogue on two textual passages from works by Maurice Blanchot and Jacques Lacan. The first part of the volume's triptych (...) focuses on the work of Francis Bacon, taking the motif of crucifixion as a path toward understanding his violent realism. The third part, which juxtaposes a dialogue with a critical essay, concerns the work of Salvatore Puglia. Through Bacon and Puglia, the author seeks another approach to a figural imperative at the limits of language. (shrink)

Abstract:Taking its cue from a resonant passage in Stanley Cavell's The Claim of Reason, this essay reflects on the necessity of the figure of the child for Cavell's philosophy and for his understanding of the differences between Austinian and Wittgensteinian criteria. It develops the difference between instruction and initiation by meditating on how we learn the words for love. Finally, I examine briefly the figure of the boy Mamillius, son of the skeptic Leontes, in William Shakespeare's The Winter's Tale, (...) whom Cavell first noticed as central to the play's energies. (shrink)

This paper explores how political theory may help us map algorithmic logics against different visions of the political. Drawing on Chantal Mouffe’s theories of agonistic pluralism, this paper depicts algorithms in public life in ten distinct scenes, in order to ask the question, what kinds of politics do they instantiate? Algorithms are working within highly contested online spaces of public discourse, such as YouTube and Facebook, where incompatible perspectives coexist. Yet algorithms are designed to produce clear “winners” from information contests, (...) often with little visibility or accountability for how those contests are designed. In isolation, many of these algorithms seem the opposite of agonistic: much of the complexity of search, ranking, and recommendation algorithms is nonnegotiable and kept far from view, inside an algorithmic “black box.” But what if we widen our perspective? This paper suggests agonistic pluralism as both a design ideal for engineers and a provocation to understand algorithms in a broader social context: rather than focusing on the calculations in isolation, we need to account for the spaces of contestation where they operate. (shrink)

What role do moment‐to‐moment comprehension processes play in visual attentional selection in picture stories? The current work uniquely tested the role of bridging inference generation processes on eye movements while participants viewed picture stories. Specific components of the Scene Perception and Event Comprehension Theory (SPECT) were tested. Bridging inference generation was induced by manipulating the presence of highly inferable actions embedded in picture stories. When inferable actions are missing, participants have increased viewing times for the immediately following critical image (...) (Magliano, Larson, Higgs, & Loschky, ). This study used eye‐tracking to test competing hypotheses about the increased viewing time: (a) Computational Load: inference generation processes increase overall computational load, producing longer fixation durations; (b) Visual Search: inference generation processes guide eye‐movements to pick up inference‐relevant information, producing more fixations. Participants had similar fixation durations, but they made more fixations while generating inferences, with that process starting from the fifth fixation. A follow‐up hypothesis predicted that when generating inferences, participants fixate scene regions important for generating the inference. A separate group of participants rated the inferential‐relevance of regions in the critical images, and results showed that these inferentially relevant regions predicted differences in other viewers’ eye movements. Thus, viewers’ event models in working memory affect visual attentional selection while viewing visual narratives. (shrink)

The year 1908 is particularly relevant in the process of reception of pragmatism in Europe due to the 3rd International Congress of Philosophy held in September in Heidelberg. On that international event the "new philosophy" coming from America was in the center of the European stage. In this study, some of the evidence available about the reception of pragmatism in Europe on the occasion of the Heidelberg International Congress of Philosophy held in 1908 are collected and summarizes. The paper is (...) arranged in the following sections: 1) The reception of pragmatism in Europe; 2) The preparation of the congress and the opening lecture by Josiah Royce; 3) The development of the congress; 4) Several echoes and afterthoughts, and 5) A brief conclusion. The main conclusion is to highlight the relevance of the III International Congress of Philosophy in order to understand this complex process of affinity and hostility between pragmatism and the different European interlocutors. The Congress was really a milestone in that process and it is worthwhile to study with attention the lectures and communications, and in particular the discussions that followed them. (shrink)

Michèle Le Doeuff's "Primal Scene": Prohibition and Confidence in the Education of a Woman My essay begins with Michèle Le Doeuff's singular account of the "primal scene" in her own education as a woman, illustrating a universally significant point about the way in which education can differ for men and women: gender difference both shapes and is shaped by the imaginary of a culture as manifest in how texts matter for Le Doeuff. Her primal scene is the (...) first moment she remembers when, while aspiring to think for herself, a prohibition is placed in her reading of literature. Her philosophyteacher—at a boys' school—told the young Michèle that Kant's Critique of Pure Reason was "too difficult" for her to read. In recalling this scene, the older Michèle—now, a woman philosopher—directs her readers to this text by Kant, in order to demonstrate how knowledge has been constrained by the narrative and imagery in the text of a philosopher; similarly, in the texts of others. She finds the central imagery of Kant's text for setting the limits to human knowledge in his account of "the island of understanding," or "land of truth," surrounded by "a stormy sea" of uncertainty; the latter image also retains a seductive appeal, threatening to destroy the confidence of any knower who ventures out beyond the well-marked out island. Moreover, women have often been associated with the dangers at sea beyond the safety of the island, where falsehood and worse reign. I propose that "text matters" here not only for gender issues, but for the postcolonial theory which Le Doeuff's reading of island imagery enhances in western literature and culture. The suggestion is that women in the history of ideas have been more susceptible than men to prohibitions : women's negative education is against going beyond certain boundaries which have been fixed by a generally colonialist culture on the grounds of gender-hierarchies. I stress the significance of confidence in the production of knowledge. A lack or an inhibition of confidence in one's own ability to think critically risks the damaging exclusions of, for example, colonialism and sexism. My aim is to unearth the political biases evident in textual imagery, while also pointing to new epistemic locations, with island-and-sea imagery that transgresses patriarchal prohibition, liberating subjects for confident reading and writing of texts today. (shrink)

Ever since the hard problem of consciousness (Chalmers, 1996, 1995) first entered the scene in the debate over consciousness many have taken it to show the limitations of a scientific or naturalist explanation of consciousness. The hard problem is the problem of explaining why there is any experience associated with certain physical processes, that is, why there is anything it is like associated with such physical processes? The character of one’s experience doesn’t seem to be entailed by physical processes (...) and so an explanation which can overcome such a worry must (1) explain how physical processes give rise to experience (explain the entailment), (2) give an explanation which doesn’t rely on such physical processes, or (3) show why the hard problem is misguided in some sense. Recently, a rather ambitious and novel theory of consciousness has entered the scene – Integrated Information Theory (IIT) of Consciousness (Oizumi et al., 2014; Tononi, 2008; Tononi et al., 2016) – and proposes that consciousness is the result of a specific type of information processing, what those developing the theory call integrated information. The central aim of this dissertation is to philosophically investigate IIT and see whether it has the ability to overcome the hard problem and related worries. I then aim to use this philosophical investigation to answer a set of related questions which guide this dissertation, which are the following: Is it possible to give an information-theoretic explanation of consciousness? What would the nature of such an explanation be and would it result in a novel metaphysics of consciousness? In this dissertation, I begin in chapter one by first setting up the hard problem and related arguments against the backdrop of IIT (Mindt, 2017). I show that given a certain understanding of structural and dynamical properties IIT fails to overcome the hard problem of consciousness. I go on in chapter two to argue that a deflationary account of causation is the best view for IIT to overcome the causal exclusion problem (Baxendale and Mindt, 2018). In chapter three, I explain IIT’s account of how the qualitative character of our experience arises (qualia) and what view of intentionality (the directedness of our mental states) IIT advocates. I then move on in chapter four to show why the hard problem mischaracterizes structural and dynamical properties and misses important nuances that may shed light on giving a naturalized explanation of consciousness. In the last and fifth chapter, I outline a sketch of a novel metaphysics of consciousness that takes the conjunction of Neutral Monism and Information-Theoretic Structural Realism to give what I call Information-Theoretic Neutral-Structuralism. (shrink)

Gibbs presents a detailed exploration of classics such as Rebel Without a Cause and Lone Star. The book is an invaluable tool in understanding the expression of visual style, and an unrivalled text for the understanding of interpretative methodologies.

Ibogaine is a hallucinogenic alkaloid, derived from Tabernanthe iboga, a plant unique to the rainforests of West Africa. Its traditional use as an epiphanic sacrament in local magico-religious practice inspired its appropriation by Western drug addicts by whom it is now hailed as both a catalyst of psychospiritual insight and an effective alleviator of cravings and withdrawal. While scientific and early clinical studies confirm its role in reducing physical withdrawal and craving, debate continues concerning the significance of its “visionary” properties. (...) An analysis of many addicts’ testimonies of recovery, however, places the visionary experience at center stage. I set out to understand mechanisms of transformation and healing, via a comparative phenomenological exploration of this experience, through the opposing lenses of psychoanalysis and cultural constructivism. I propose that at the heart of the healing encounter is a culturally shaped creative journey to an imaginal unspoilt state in personal or collective history. How this experience is recovered and integrated into life is critically considered. I argue a secular account is vital as the ibogaine scene strives toward social and medical legitimacy. If and how such a framework can sit alongside spontaneously emergent spiritual and religious idioms and experience will also be tentatively explored. (shrink)

Observers have difficulty detecting visual changes. However, they are unaware of this inability, suggesting that people do not have an accurate understanding of visual processes. We explored whether this error is related to participants’ beliefs about the roles of intention and scene complexity in detecting changes. In Experiment 1 participants had a higher failure rate for detecting changes in an incidental change detection task than an intentional change detection task. This effect of intention was greatest for complex scenes. (...) However, participants predicted equal levels of change detection for both types of changes across scene complexity. In Experiment 2, emphasizing the differences between intentional and incidental tasks allowed participants to make predictions that were less inaccurate. In Experiment 3, using more sensitive measures and accounting for individual differences did not further improve predictions. These findings suggest that adults do not fully understand the role of intention and scene complexity in change detection. (shrink)

In her book Experience Embodied, Anik Waldow challenges and reimagines the traditional interpretative approach to the concept of experience in the early modern period. Traditionally, commentators have emphasized early moderns’ views on the first-person perspective and eschewed the relevance of our embodiment to their epistemological outlooks. My focus here is on Waldow’s chapter on Hume, wherein she analyzes Hume’s account of our capacity for reflective moral judgment, arguing that he understands it as natural despite the countless ways in which our (...) embodied social experiences impinge on it. After detailing Waldow’s contributions, I clarify, corroborate, and criticize them. Since I contend that Waldow is broadly successful in her interpretative efforts, I suggest that she undermines the traditional interpretative approach to experience in the early modern period, but not in the sense that she moves us away from the epistemological towards other lenses. Rather, Waldow should be understood as showing that, at least in the case of Hume’s metaethics, the epistemological is embodied, is social, and is both cognitive and sentimental. (shrink)

The increasing pervasiveness of datafication across social life is significantly challenging the scope and meanings of visibility. How do new modes of data capture compel us to rethink the notion of visibility, no longer understood as an ocular-based perceptual field, but as a multifaceted site of power? Focusing in particular on technologies of algorithmic recognition, the article argues that in order to understand the broad stakes of visibility under algorithmic life, the intersection between algorithmic recognition and the notion of social (...) recognizability needs to be further theorized. In dialogue with the work of Sondra Perry, and drawing on contributions from feminist and critical race theories, the article revisits theoretical debates on racialized visibility within photography and film to show how racializing processes are inscribed in digital and algorithmic technologies. In reading through these debates, the article suggests that visibility, as a racial formation, is always already subjected to an algorithmic logic. Through the analysis of Sondra Perry’s work, the article sketches out a political ontology of the image premised on the intersection between computation and the markings of the flesh as a possible way to think through the stakes of visibility under algorithmic life. (shrink)

In workplace settings, skilled participants cooperate on the basis of shared routines in smooth and often implicit ways. Our study shows how interactional histories provide the basis for routine coordination. We draw on theater rehearsals as a perspicuous setting for tracking interactional histories. In theater rehearsals, the process of building performing routines is in focus. Our study builds on collections of consecutive performances of the same instructional task coming from a corpus of video-recordings of 30 h of theater rehearsals of (...) professional actors in German. Over time, instructions and their implementations are routinely coordinated by virtue of accumulated shared interactional experience: Instructions become shorter, the timing of responses becomes increasingly compacted and long negotiations are reduced to a two-part sequence of instruction and implementation. Overall, a routine of how to perform the scene emerges. Over interactional histories, patterns of projection of next actions emanating from instructions become reliable and can be used by respondents as sources for anticipating and performing relevant next actions. The study contributes to our understanding of how shared knowledge and routines accumulate over shared interactional experiences in publicly performed and reciprocally perceived ways and how this impinges on the efficiency of joint action. (shrink)

The college hookup scene is a profoundly gendered and heteronormative sexual field. Yet the party and bar scene that gives rise to hookups also fosters the practice of women kissing other women in public, generally to the enjoyment of male onlookers, and sometimes facilitates threesomes involving same-sex sexual behavior between women. In this article, we argue that the hookup scene serves as an opportunity structure to explore same-sex attractions and, at least for some women, to later verify (...) bisexual, lesbian, or queer sexual identities. Based on quantitative and qualitative data and combining queer theory and identity theory, we offer a new interpretation of women’s same-sex practices in the hookup culture. Our analysis contributes to gender theory by demonstrating the utility of identity theory for understanding how non-normative gender and sexual identities are negotiated within heteronormatively structured fields. (shrink)

This study explored pedestrians’ understanding of Fully Autonomous Vehicles intention to stop and what influences pedestrians’ decision to cross the road over time, i.e., learnability. Twenty participants saw fixed simulated urban road crossing scenes with a single FAV on the road as if they were pedestrians intending to cross. Scenes differed from one another in the FAV’s, distance from the crossing place, its physical size, and external Human-Machine Interfaces message by background color, message type, and presentation modality. Eye-tracking data (...) and decision measurements were collected. Results revealed that pedestrians tend to look at the e-HMI before making their decision. However, they did not necessarily decide according to the e-HMIs’ color or message type. Moreover, when they complied with the e-HMI proposition, they tended to hesitate before making the decision. Overall, a learning effect over time was observed in all conditions regardless of e- HMI features and crossing context. Findings suggest that pedestrians’ decision making depends on a combination of the e-HMI implementation and the car distance. Moreover, since the learning curve exists in all conditions and has the same proportion, it is critical to design an interaction that would encourage higher probability of compatible decisions from the first phase. However, to extend all these findings, it is necessary to further examine dynamic situations. (shrink)

Remote sensing image simulation is a very effective method to verify the feasibility of sensor devices for ground observation. The key to remote sensing image application is that simultaneous interpreting of remote sensing images can make use of the different characteristics of different data, eliminate the redundancy and contradiction between different sensors, and improve the timeliness and reliability of remote sensing information extraction. The hotspots and difficulties in this direction are based on remote sensing image simulation of 3D scenes on (...) the ground. Therefore, constructing the 3D scene model on the ground rapidly and accurately is the focus of current research. Because different scenes have different radiation characteristics, therefore, when using MATLAB to write a program generated by 3D scenes, 3D scenes must be saved as different text files according to different scene types, and then extension program of the scene is written to solve the defect that the calculation efficiency is not ideal due to the huge amount of data. This paper uses POV ray photon reverse tracking software to simulate the imaging process of remote sensing sensors, coordinate transformation is used to convert a triangle text file to POV ray readable information and input the RGB value of the base color based on the colorimetry principle, and the final 3D scene is visualized. This paper analyzes the thermal radiation characteristics of the scene and proves the rationality of the scene simulation. The experimental results show that introducing the chroma in the visualization of the scene model makes the whole scene have not only fidelity, but also radiation characteristics in shape and color. This is indispensable in existing 3D modeling and visualization studies. Compared with the complex radiation transmission method, using the multiple angle two-dimensional image generated by POV rays to analyze the radiation characteristics of the scene, the result is intuitive and easy to understand. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Understanding the Score: Film Music Communicating to and Influencing the AudienceJessica Green (bio)IntroductionWhen most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. (...) Christian Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms of expression, which retain some of their own laws (image, speech, music, and noise),” to which he later adds “written materials” as a fifth component.1 Of these five channels of information included in film, music is the most artificial because in many films the majority of music is nondiegetic. For the audience, it is also the channel most removed from everyday life. While people do interact with images, the spoken word, text, and sound in the normal course of a day, people do not walk around constantly supported by a sensitive soundtrack that follows their emotions and thoughts.Yet despite the artificiality of the musical score in comparison with everyday life, audiences have come to accept film music as an integral part of what it means to watch a film. Films that fail to use much music or fail to use it well often have a problem involving the audience as completely as films that embrace music as a tool that can expose the inner feelings and thoughts of characters and can shape the way that viewers feel about what’s happening on screen. To understand the importance of film music, Stam, Burgoyne, and Flitterman-Lewis further explain why it is important to examine music as a significant channel through which the audience makes meaning of the film: “Metz’s definition of the cinema’s matter of expression as consisting of five tracks—image, dialogue, noise, music, written materials—served to call attention to the soundtrack and thus to undercut the formulaic view of [End Page 81] the cinema as an ‘essentially visual’ medium which was ‘seen’ (not heard) by ‘spectators’ (not auditors).”2 By distinguishing dialogue, noise, and music—all auditory channels of information—as important pieces of film, Stam, Burgoyne, and Flitterman-Lewis support Metz’s assertion “that the cinema possesses various ‘dialects,’ and that each one of these ‘dialects’ can become the subject of a specific analysis.”3 Once audiences and critics consider music as one of the fundamental “dialects” of film, it then makes sense to understand music as an essential part of communication and argument in film.But is the film score more than just a reflection of a character’s sadness or the exciting chase music that exhilarates audiences? While most audiences would certainly be able to cite numerous instances of music reflecting the feelings of characters or the general mood of the film, some people might be surprised by the extent to which film music shapes and affects meaning in film. Stam, Burgoyne, and Flitterman-Lewis define several types of music that can be used in scores: redundant music, which reinforces the emotional tone; contrapuntal music, which runs counter to the dominant emotion; empathetic music, which conveys the emotions of the characters; a-empathetic music, which seems indifferent to the drama; and didactic contrapuntal music, which uses music to distance the audience “in order to elicit a precise, usually ironic, idea in the spectator’s mind.”4 Though these terms can be limiting because music often fulfills more than just one role in a scene, they do demonstrate that music is making an argument or working to convince or persuade the audience, proving that film music is behaving rhetorically. Though film music does often fulfill the basic roles of conveying emotion and suggesting connections or themes in the film, film music also works in more complex roles to affect the meaning in film. Through music’s development of specific leitmotifs, themes, and cues, the calculated use of film music in conjunction with the other channels of information helps to create the narrative and control the way... (shrink)

This new, inexpensive translation of Plato's Apology of Socrates is an alternative to the 19th-century Jowett translation that students find online when they're trying to save money on books. Using the 1995 Oxford Classical Text and the commentaries of John Burnet and James Helm, I aimed to produce a 21st-century English translation that is both true to Plato's Greek and understandable to college students in introductory philosophy, political theory, and humanities courses. The book also includes a new translation of the (...) death scene from Plato's Phaedo, a short introduction, a dozen explanatory notes, advice on how to cite Plato in papers, and suggestions for further reading. Search for "Plato Armstrong" in Apple Books (epub ISBN 9781957448022) and Amazon (paperback ISBN 9781957448008, Kindle ISBN 9781957448015). (shrink)

This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a Frequency (...) Spectrogram. This ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance; feelings as frequencies; and the distinctive meaning of affect as timbre. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings. (shrink)

This article proposes a form of visual narrative that fuses authoring and data within a unified paradigm called the ‘visual image data field’. A structure with multidimensional connections in a fluid environment that self-reflexively responds to its own usage supports the future language of visual sources. The intuitive gestures and curiosity that drive visual knowledge similarly drive development of this organic architecture. Diffusing iconic images that are shorthand for conveying historical trends makes this type of unambiguous expository reading obsolete as (...) images are embedded within the rich image fields native to digital media. A topsy-turvy game of images upsets the dominance of iconic images most frequently reproduced in text-based media and redistributes meaning across a pictorial array. Meaning not only changes according to the juxtaposition of images, but also emerges from the cracks between similar scenes. Images in relationship to other images acquire a granularity that deepens meaning by adding different qualities – less narrative and quantifiable – of understanding. If images become the ‘narremes’ or grammatical elements in a visual narratology, then meaning emerges from their sequencing and re-sequencing. (shrink)

This video-ethnographic study explores how professional actors and a director at the end of a theatrical rehearsal process coordinate transitions between rehearsed scenes. This is done through the development and use ofcues, that is, ‘signals for action’. The aim is to understand how cues are developed and how timing in transitions is achieved by using the designed cues. Work on three different scene transitions is analysed using multimodal Conversation Analysis. The results show that cueing is a central tool for (...) developing well-timed transitions, and how cues serve different purposes in the developing performance. There is no prior plan for how to achieve timely transitions. In all the analysed examples, it is an actor who must produce or act on the given cue who insists on its precise definition, followed by a negotiation on candidate cues, confirmation and specifying the cue. It is also actors who are primarily responsible for the timing of transitions, and the timing is solved through an interplay of clear-cut and embodied actions that allow for temporal variance. Cues are reflexively linked to actors’ observation and interpretation of other actors’ actions, which prevents a mechanical determination of timing in scene transition. (shrink)

The evolutionary origins of complex capacities such as musicality are not simple, and likely involved many interacting steps of musicality-specific adaptations, exaptations, and cultural creation. A full account of the origins of musicality needs to consider the role of ancient adaptations such as credible singing, auditory scene analysis, and prediction-reward circuits in constraining the emergence of musicality.

Whit Stillman’s films depict characters attempting to gain relevant knowledge of their historical situation so that they can shape their lives. Through an analysis of scenes from each of Stillman’s films, this essay demonstrates that historical knowledge is presented as a kind of self-understanding in the films. That historical knowledge is useful for gaining control over one’s future as well as for properly evaluating one’s life reveals a philosophically interesting approach to self-knowledge. Stillman’s complex approach of layering contexts further (...) suggests an elusive account of the self. (shrink)

The Enlightenment can usefully be conceived as a confrontation with eroding Christian and classical republican ethics. It was permeated with assumptions about women and the gendered dichotomy between public and private spheres. While William Robertson and Edmund Burke, along with many of their contemporaries, remained committed to Christian- and republican-based conceptions of virtue, they were working within a new Enlightenment paradigm. Its political agenda has to be understood by way of its configurations of beauty, taste, and morality as these relate (...) to the imperatives and needs of modern societies of a high level of sophistication and differentiation. An examination of two themes in the work of Robertson and Burkesavagecivilizedbeauty in distressreveals how long-held convictions about the character of women, especially with regard to their capacity and right to appear in the public domain, were modified and adjusted to the idea of progress, and became central to an enlightened affirmation of modern European civilization. The result had its ironies. On the one hand, a positive public and indeed political role was invented for women that is central to understanding the overall thrust of a political discourse based on politeness, civility, refinement and similar values specifically associated with modern commercial societies. On the other hand, though the complexity of this model of society gave ample scope to informal and spontaneous vehicles of social disciplining, whatever room was left for the more traditional ways of governing polities through the direct exertion of political power remained closed to women: the very features that opened for them the opportunity to play political roles through sociability in the public sphere also circumscribed them. (shrink)

Postliberal theology has been a topic of considerable theological debate over the past few decades. In his 2011 book Another Reformation, Peter Ochs deploys a postliberal theological model for the purpose of developing a sophisticated understanding of the future of interreligious relations. Ochs argues that postliberal theology is a reparative theology focusing on alleviating human suffering. He argues that the Christian idea of supersessionism may be the most challenging for Christians to confront as they explore avenues for making interreligious (...) dialogue more effective. Ochs critiques the Mennonite theologian John Howard Yoder's understanding of Zionism as Jewish Constantianism for being an instance of an ostensibly postliberal theology losing its way. In this essay, I offer a critique of Ochs's reading of Yoder, claiming that Yoder's view actually mirrors an important intra-Jewish debate about the relationship between political power and piety, and retrieves an ingenious contribution of both early Judaism and early Christianity that is effaced in today's growing Constantinian approach to Christian imperialism and Jewish nationalism. (shrink)

Transversality occupies a central place in Guattari's thought, appearing in his early writings on institutional analysis and on through to his final work, Chaosmosis. Transversality is thus particularly pertinent to understanding Guattari's critique of semiocapitalism and his goal of re-imagining forms of institutional subjectivisation as a way to free the unconscious from structures of lack and the desire for punishment, the very structures upon which capitalism relies for its reproduction. If there is one institution that has taken advantage of (...) semiocapitalism's ability to mask its role in the reproduction of capitalist subjectivity, however, it is the contemporary neoliberal University. This essay thus brings transversality to bear upon the question of the University in semiocapitalism, focusing on the discourses that speak in defence of the humanities. Though defences of the humanities are intended to argue for the humanities’ usefulness in contemporary society, transversality exposes such discourses as the speech of a ‘subjugated group’ whose only effect is to reinforce existing structures of lack and punishment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading (...) idea in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

This is a reading of Spivak as an heir to Sri Avinavagupta and Sri Ramakrishna. We ignore the fact that Spivak is a Shakta in her corpus. This review corrects/revises our understanding of Spivak and reinstates her as she really deserves to be read: she is within the traditions of Tantra. Spivak, in her own writings and interviews, has long spoken of her Tantric roots. This review in Prabuddha Bharata, which is the mouthpiece of the Ramakrishna Mission whose disciple (...) Spivak is, published this review because it carries on, as it were, the cultural work of analysing the precomprehensible in Spivak. There is a typo in the review since nothing in this world is or can be, perfect! (shrink)

The fact that monstrous births were not represented in independent learned publications of the eighteenth century, except for the case of hermaphrodites, does not mean that the interest in them had disappeared or that they were no more considered proper objects of inquiry. This paper focuses on the medical understanding of monstrosity at the Royal Society of London. I point to the use of monstrous births in strengthening the authority of medical practitioners and lecturers. I also show some of (...) their uses in providing new questions for the scenes of medical inquiry of the period and as crucial evidence in the understanding of regular physiological phenomena. I discuss some of the reasons why monstrous formations continued to defy an 'Enlightenment' approach to nature based on the search for order and regularity. (shrink)

This article explores one central assumption that is guiding large portions of contemporary (analytic) moral philosophy: the idea that moral philosophy has to be forward-looking and action-guiding. By paying attention to a number of examples, it is argued that this guiding assumption flies in the face of important aspects of actual moral life. Moral situations are not (always) of the nature that we can plan for them, and reason about them in advance. Rather, the moral reality, or the moral contexts, (...) are often such that the moral situation is created in the scene, and hence something that is only available to reflect upon in hindsight. There are, at least, two central reasons why this is so: The first is that the sense, meaning, of the actions and the concepts we use in reflection about them, are not locked beforehand, and our understanding of them are formed in the process. The second reason is that moral situations come about in a responsive, rather than planned, way. That is, we discover our moral world by means of our reactive interactions, rather than in theoretical reflection that aims to produce “anticipated beliefs.” Thus, this article suggests a way of exploring morality’s backward-looking nature that does not misrepresent moral reality. (shrink)

Sexuality researchers have demonstrated how the progressive campuses of selective universities shape hookups, sexual fluidity, and same-gender sex among straight-identified women. However, this research cannot fully explain a puzzling demographic pattern: women with the lowest levels of educational attainment reported the highest lifetime prevalence of same-gender sex. To make sense of this puzzle, I draw on interviews with 35 women systematically recruited from a demographic survey. I find early motherhood forecloses possibilities to develop or claim LGBTQ identities as women prioritize (...) seemingly incompatible discourses of self-sacrifice and good motherhood; sexual friendships and safety strategies provide opportunities to meaningfully explore same-gender sex and desire; and participants reject “queer” and embrace “bisexual” in the opposite pattern observed among their more privileged peers. This study underscores the situated nature of sexuality knowledge by offering an intersectional analysis of how women beyond the college hookup scene and located outside spaces permeated with LGBTQ discourses enact sexual fluidity and make meaning of same-gender sex. (shrink)

In the debate about the nature of social cognition we see a shift towards theories that explain social understanding through interaction. This paper discusses autopoietic enactivism and the we-mode approach in the light of such developments. We argue that a problem seems to arise for these theories: an interactionist account of social cognition makes the capacity of shared intentionality a presupposition of social understanding, while the capacity of engaging in scenes of shared intentionality in turn presupposes exactly the (...) kind of social understanding that it is intended to explain. The social capacity in question that is presupposed by these accounts is then analyzed in the second section via a discussion and further development of Searle’s ‘sense of us’ and ‘sense of the other’ as a precondition for social cognition and joint action. After a critical discussion of Schmid’s recent proposal to analyze this in terms of plural pre-reflective selfawareness, we develop an alternative account. Starting from the idea that infants distinguish in perception between physical objects and other agents we distinguish between affordances and social affordances and cash out the notion of a social affordance in terms of “interaction-oriented representations”, parallel to the analysis of object affordances in terms of “action-oriented representations”. By characterizing their respective features we demonstrate how this approach can solve the problem formulated in the first part. (shrink)

O presente ensaio parte dos problemas enfrentados pela religião no âmbito do mundo moderno e sua particular compreensão de ciência. Pontualmente, ocupou-se em problematizar as querelas por ela enfrentadas quando a então embrionária modernidade estabelecia seus novos paradigmas científicos, motivando, portanto, o seu profundo deslocamento. Assevera-se, a partir daí, cada vez mais, uma inadequação da religião enquanto alvo a ser perspectivado pelo movimento científico nascente. A religião, portanto, não se viu pertencida aos debates produzidos pelo mundo moderno, nem tampouco pelo (...) cânone dos novos postulados científicos, representado, majoritariamente, pelo vertiginoso avanço das ciências da natureza. Discute-se, por isso, a partir de W. Dilthey, a emergência do paradigma das chamadas ciências humanas e daí a possibilidade de se entrever, novamente, a pergunta pela pertinência da religião, enquanto elemento fundamental da cultura humana e, portanto, indispensável à compreensão da humanidade do homem. Por fim, procurou-se convocar, no âmbito das chamadas ciências da religião, a dimensão hermenêutica das ciências humanas e a reabilitação da teologia enquanto campo imprescindível para a audição da religião. Palavras-chave : Modernidade. Ciências. Teologia.The standpoints of this essay are the problems faced by religion in modern world and its particular understanding of science. From time to time, the concerns on this matter were centered in the debates that involved religion, especially when the recently formed modernity established its new scientific paradigms, motivating, thus, its deep displacement. It was assured then, and ever more, an inadequacy of religion as a target to be reached by the rising scientific movement. Religion, therefore, has never been truly inserted in the debates produced by the modern world, not even by the canon of the new scientific statements, mostly represented by the rapid growth within sciences of nature. From Dilthey on, it has been argued the emergency of the so-called paradigm of the Human Sciences and then the possibility of foreseeing, again, the question on the pertinence of religion as a fundamental element of human culture which is, therefore, essential to the comprehension of the humanity of men. Finally, it will be evoked here, in the fields of the so-called Sciences of Religion, the hermeneutical dimension of the Human Sciences and the rehabilitation of theology as a primordial area to hearing religion. Keywords : Modernity. Sciences. Theology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and [that] none of (...) them are particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)