Human motion gesture recognition is the most challenging research direction in the field of computer vision, and it is widely used in human-computer interaction, intelligent monitoring, virtual reality, human behaviour analysis, and other fields. This paper proposes a new type of deep convolutional generation confrontation network to recognize human motion pose. This method uses a deep convolutional stacked hourglass network to accurately extract the location of key joint points on the image. The generation and identification part of the network is (...) designed to encode the first hierarchy and the second hierarchy and show the spatial relationship of human body parts. The generator and the discriminator are designed as two parts in the network, and they are connected together in order to encode the possible relationship of appearance and, at the same time, the possibility of the existence of human body parts and the relationship between each part of the body and its parental part coding. In the image, the key nodes of the human body model and the general body posture can be identified more accurately. The method has been tested on different data sets. In most cases, the results obtained by the proposed method are better than those of other comparison methods. (shrink)

Hobbes intended and expected De Corpore to secure his place among the foremost mathematicians of his era. This is evident from the content of Part III of the work, which contains putative solutions to the most eagerly sought mathematical results of the seventeenth century. It is well known that Hobbes failed abysmally in his attempts to solve problems of this sort, but it is not generally understood that the mathematics of De Corpore is closely connected with the work of some (...) of seventeenth-century Europe’s most important mathematicians. This paper investigates the connection between the main mathematical chapters of De Corpore and the work of Galileo Galilei, Bonaventura Cavalieri, and Gilles Personne de Roberval. I show that Hobbes’s approach in Chapter 16 borrows heavily from Galileo’s Two New Sciences, while his treatment of “deficient figures’ in Chapter 17 is nearly identical in method to Cavalieri’s Exercitationes Geometricae Sex. Further, I argue that Hobbes’s attempt to determine the arc length of the parabola in Chapter 18 is intended to use Roberval’s methods to generate a more general result than one that Roberval himself had achieved in the 1640s. I claim Hobbes was convinced that his first principles had led him to discover a “method of motion” that he mistakenly thought could solve any geometric problem with elementary constructions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Computer vision is widely used in manufacturing, sports, medical diagnosis, and other fields. In this article, a multifeature fusion error action expression method based on silhouette and optical flow information is proposed to overcome the shortcomings in the effectiveness of a single error action expression method based on the fusion of features for human body error action recognition. We analyse and discuss the human error action recognition method based on the idea of template matching to analyse the key issues that (...) affect the overall expression of the error action sequences, and then, we propose a motion energy model based on the direct motion energy decomposition of the video clips of human error actions in the 3 Deron action sequence space through the filter group. The method can avoid preprocessing operations such as target localization and segmentation; then, we use MET features and combine with SVM to test the human body error database and compare the experimental results obtained by using different feature reduction and classification methods, and the results show that the method has the obvious comparative advantage in the recognition rate and is suitable for other dynamic scenes. (shrink)

This study is to explore the gesture recognition and behavior tracking in swimming motion images under computer machine vision and to expand the application of moving target detection and tracking algorithms based on computer machine vision in this field. The objectives are realized by moving target detection and tracking, Gaussian mixture model, optimized correlation filtering algorithm, and Camshift tracking algorithm. Firstly, the Gaussian algorithm is introduced into target tracking and detection to reduce the filtering loss and make the acquired motion (...) posture more accurate. Secondly, an improved kernel-related filter tracking algorithm is proposed by training multiple filters, which can clearly and accurately obtain the motion trajectory of the monitored target object. Finally, it is proposed to combine the Kalman algorithm with the Camshift algorithm for optimization, which can complete the tracking and recognition of moving targets. The experimental results show that the target tracking and detection method can obtain the movement form of the template object relatively completely, and the kernel-related filter tracking algorithm can also obtain the movement speed of the target object finely. In addition, the accuracy of Camshift tracking algorithm can reach 86.02%. Results of this study can provide reliable data support and reference for expanding the application of moving target detection and tracking methods. (shrink)

A common sense view is illustrated by Doubting Thomas, and surfaces in many philosophical and psychological writings : Touching is better than seeing. But can we make sense of this privilege? We rule out that it could mean that touch is more informative than vision, more ‘objective’ or more directly in contact with reality. Instead, we propose that touch offers not a perceptual, but a metacognitive advantage: touch is not more objective than vision but rather provides comparatively higher subjective certainty.

According to the traditional inferential theory of perception, percepts of object motion or stationarity stem from an evaluation of afferent retinal signals (which encode image motion) with the help of extraretinal signals (which encode eye movements). According to direct perception theory, on the other hand, the percepts derive from retinally conveyed information only. Neither view is compatible with a perceptual phenomenon that occurs during visually induced sensations of ego motion (vection). A modified version of inferential theory yields a model in (...) which the concept of extraretinal signals is replaced by that of reference signals, which do not encode how the eyes move in their orbits but how they move in space. Hence reference signals are produced not only during eye movements but also during ego motion (i.e., in response to vestibular stimulation and to retinal image flow, which may induce vection). The present theory describes the interface between self-motion and object-motion percepts. An experimental paradigm that allows quantitative measurement of the magnitude and gain of reference signals and the size of the just noticeable difference (JND) between retinal and reference signals reveals that the distinction between direct and inferential theories largely depends on: (1) a mistaken belief that perceptual veridicality is evidence that extraretinal information is not involved, and (2) a failure to distinguish between (the perception of) absolute object motion in space and relative motion of objects with respect to each other. The model corrects these errors, and provides a new, unified framework for interpreting many phenomena in the field of motion perception. (shrink)

Book 1 of Aristotle’s De Anima extensively discusses two characteristics of the soul: the soul as the source of motion of the living being, and the soul as the seat of perception and cognition. The following conclusions are drawn on the nature and function of the soul. The soul is not a magnitude and not material; it is a substance and not an attribute; it is a unity, and the principle of unity is not material continuity. The soul is (...) the origin of perception and motion, and of psychological processes such as emotions and desires. An adequate account of how the soul causes perception, motion, and the like must not attribute motion to the soul. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

Between 1905 and 1913, French physicist Jean Perrin's experiments on Brownian motion ostensibly put a definitive end to the long debate regarding the real existence of molecules, proving the atomic theory of matter. While Perrin's results had a significant impact at the time, later examination of his experiments questioned whether he really gained experimental access to the molecular realm. The experiments were successful in determining the mean kinetic energy of the granules of Brownian motion; however, the values for molecular magnitudes (...) Perrin inferred from them simply presupposed that the granule mean kinetic energy was the same as the mean molecular kinetic energy in the fluid in which the granules move. This stipulation became increasingly questionable in the years between 1908 and 1913, as significantly lower values for these magnitudes were obtained from other experimental results like alpha-particle emissions, ionization, and Planck's blackbody radiation equation. In this case study in the history and philosophy of science, George E. Smith and Raghav Seth here argue that despite doubts, Perrin's measurements were nevertheless exemplars of theory-mediated measurement-the practice of obtaining values for an inaccessible quantity by inferring them from an accessible proxy via theoretical relationships between them. They argue that it was actually Perrin more than any of his contemporaries who championed this approach during the years in question. The practice of theory-mediated measurement in physics had a long history before 1900, but the concerted efforts of Perrin, Rutherford, Millikan, Planck, and their colleagues led to the central role this form of evidence has had in microphysical research ever since. Seth and Smith's study thus replaces an untenable legend with an account that is not only tenable, but more instructive about what the evidence did and did not show. (shrink)

The volume uncovers the most pragmatic and pragmatist aspects of Ludwig Wittgenstein’s philosophy, particularly of On Certainty, through a comparison with the pragmatist tradition as expressed by Charles S. Peirce and William James. On Certainty is often described as 'pragmatic' in literature and this pragmatic aspect is said to characterize a new turn in its author’s thought. Yet, what is still missing is a study of what specifically are the features which make these writings 'sound like pragmatism', as Wittgenstein himself (...) put it (OC 422). The book therefore aims to verify if and to what extent it is possible to sustain that there is an objective convergence between his thought and pragmatism. In doing so, the volume also proposes a clarification of the main differences between Peirce’s and James’ vision of some key ideas of classical pragmatism like doubt and certainty, common sense, the pragmatic maxim, action. Among the achievements of the work are: an analysis of Wittgenstein’s first mention of pragmatism; some pieces of evidence in favour of the hypothesis that Wittgenstein did read some works by Peirce; a documented investigation on the relevance of Frank Ramsey for the development of Wittgenstein’s idea of pragmatism. The volume does not sustain the thesis that Wittgenstein was a pragmatist (nor the opposing thesis that he was not), but highlights the objective convergences and the divergences between his perspective and pragmatism through a balanced analysis running both on an exegetical and on a theoretical level. (shrink)

Instead of the usual apologetic treatment found in legal doctrine, linked to the determinacy, immutability or predictability of norms, this book treats legal certainty innovatively, holistically and in depth. Using a method at once analytical and functional, Professor Ávila examines the structural elements of legal certainty, from its definition and foundations to its various dimensions, normative forces and efficacies, citing a wealth of examples from case law to support each of the theses defended. No subject is more important and topical (...) than legal certainty. Problems relating to lack of understanding, instability and unpredictability of law intensify day by day everywhere, in civil law and common law countries alike. Normative sources are increasingly diverse in origin and multiple in nature. They change constantly, and present increasingly frequent problems of ambiguity and vagueness that significantly hinder their comprehension. This state of affairs, which to a greater or lesser extent is true of any legal order, justifies a return to the subject of legal certainty. In this book, essential questions are answered such as: Legal certainty in what sense? Certainty of what, for whom, in whose vision and by whom? When, to what extent, and to what end? “ it is probably the most comprehensive and systematic study ever produced on this subject using the analytical method.”. (shrink)

This article is a reflection on chance as a scientific object, starting from a materialistic point of view. I analyze the relationship between motion and complexity by introducing the notion of an open system and the categories that result from it: state of nature and observable, to review the debate on chance and certainty.

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of an oppositely moving world. To show (...) this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

Vision is so closely identified with visual phenomenology that we sometimes forget that the visual system does more than deliver our experience of the world. Vision also plays a critical role in the control of our movements, from picking up our coffee cups to playing tennis. But the visual control of movement has, until recently, been relatively neglected. Indeed, traditional accounts of vision, while acknowledging the role of vision in motor control, have simply regarded such control as part of a (...) larger function—that of constructing an internal model of the external world. Even though such accounts might postulate separate ‘modules’ for the processing of different visual features, such as motion, colour, texture, and form, in most of these accounts there is an implicit assumption that, in the end, vision delivers a single representation of the external world—a kind of simulacrum of the real thing that serves as the perceptual foundation for all visually driven thought and action. (shrink)

Vision is so closely identified with visual phenomenology that we sometimes forget that the visual system does more than deliver our experience of the world. Vision also plays a critical role in the control of our movements, from picking up our coffee cups to playing tennis. But the visual control of movement has, until recently, been relatively neglected. Indeed, traditional accounts of vision, while acknowledging the role of vision in motor control, have simply regarded such control as part of a (...) larger function – that of constructing an internal model of the external world. Even though such accounts might postulate separate ‘modules’ for the processing of different visual features, such as motion, colour, texture, and form, in most of these accounts there is an implicit assumption that, in the end, vision delivers a single representation of the external world – a kind of simulacrum of the real thing that serves as the perceptual foundation for all visually driven thought and action. (shrink)

Representational momentum is a well-known phenomenon that occurs when a moving object vanishes suddenly and the memory of its final or vanishing position is displaced forward in the direction of its motion. Many studies have shown evidence of various perceptual and cognitive characteristics of RM in various daily aspects, sports, development, and aging. Here we examined the longitudinal developmental changes in the displacement magnitudes of RM among younger and older nursery school children for pointing and judging tasks. In our experiments, (...) the children were asked to point at by their finger and judge the spatial location of the vanishing point of a moving stimulus. Our results showed that the mean magnitudes of RM significantly decreased from 5- to 6-year-old children for the pointing and judging tasks, although the mean magnitude of RM was significantly greater in the 5-year-old children for the pointing task but not for the judging task. We further examined the developmental changes in RM for a wide range of ages based on data from the present study and our previous study. This ad hoc examination showed that the magnitude of RM was significantly greater in 5-year-old children than in adults for the pointing and judging tasks. Our findings suggest that the magnitude of RM was significantly greater in young children than in adults and significantly decreased in young children through adults for the pointing and judging tasks. (shrink)

Insect vision is nothing if not active. The regular head movements, called saccades, enable the fly Drosophila to keep a straight path in flight despite inequalities in the thrust of the wings. Using their own motion, bees in flight measure the ranges of nearby objects. A long history of research shows that bees discriminate visually in ways that depend on their activity or task, so we must distinguish between vision during flying, fixating or hovering and landing.Bees return again and again (...) for a reward of sugar solution and use their eyes to find their way. In an apparatus that makes them discriminate between two simulataneously visible but regularly interchanged targets, seen at a distance of 27 cm, bees are able to distinguish a remarkable number of simple patterns, but they fail in certain critical cases. The results can be explained with the hypothesis that bees have several broadly tuned overlapping filters with large fields that respond to the predominant orientation in a region of the image, and others for radial and circular patterns. Together with colour, these filters are independent of range. Bees prefer to use landmarks where they can, then global pattern at the largest scale, and lastly the detail around the goal. The way that discrimination of one visual feature is independent of other variables can be explained by models analogous to the colour triangle in colour discrimination. (shrink)

Luc Deneulin et Johan Swinnen se sont entretenus avec sept philosophes français et belges à propos de la philosophie qui entre dans les salles de cinéma. La caverne de Platon a permis de déchiffrer une partie du cerveau humain ; raconter des images sous la forme de films est demeuré pendant longtemps un phénomène inconnu et sous-estimé. Le résultat débouche sur un ouvrage surprenant qui fait la part belle à un certain nombre de films conventionnels ou non, présentant une diversité (...) inattendue de thèmes. Visions - Philosophie et cinéma nous fait comprendre comment chaque époque éprouve le besoin d'avoir ses propres films. Leur valeur ne semble pas dépendre des qualités esthétiques en elles-mêmes mais de leur impact sur le spectateur. Les penseurs qui se penchent sur les images de film nous amènent à une nature profonde et surprenante des images comme matière à penser et à la possibilité d'une réconciliation avec la vie grâce au réconfort de la beauté et de la profondeur de l'image. (shrink)

A new motion illusion is discussed in relation to the idea of vision as a Grand Illusion. An experiment shows that this 'Tinkerbell effect' is a good example of a visual illusion supported by low-level stimulus information, but resulting from integration principles probably necessary for normal perception.

What is colour vision for? In the popular imagination colour vision is for “seeing the colours” — adding hue to the achromatic world of shape, depth and motion. On this view colour vision plays little more than an ornamental role, lending glamour to an otherwise monochrome world. This idea has guided much theorising about colour within vision science and philosophy. However, we argue that a broader approach is needed. Recent research in the psychology of colour demonstrates that colour vision is (...) integral to a variety of visual processes, helping us to perform many types of visual tasks. We discuss some of this research and consider its implications for philosophical theories of colour. (shrink)

Dynamic vision sensor is a kind of bioinspired sensor. It has the characteristics of fast response, large dynamic range, and asynchronous output event stream. These characteristics make it have advantages that traditional image sensors do not have in the field of tracking. The output form of the dynamic vision sensor is asynchronous event stream, and the object information needs to be provided by the relevant event cluster. This article proposes a method based on the event correlation index to obtain the (...) object’s position, contour, and other information and is compatible with traditional tracking methods. Experiments show that this method can obtain the position information of the moving object and its continuous motion trajectory and analyze the influence of the parameters on the tracking effect. This method will have broad application prospects in security, transportation, etc. (shrink)

Au moment de décrire la fonction des yeux humains, qui sont donnés par les dieux afin que l’on puisse déduire la philosophie et le nombre à partir de la rotation du firmament, Timée interrompt son récit pour développer son explication des mécanismes physiques sous‑jacents à la fois à la vision et à tout type de mouvement et de changement. Il est intéressant de noter que, dans le contexte du Timée dans son ensemble, la chôra ne semble pas indispensable. Par exemple, (...) l’explication de la nécessité impliquant les types corporels de base et leurs isotopes et composés aurait pu s’effectuer assez facilement avec la simple affirmation des quatre solides réguliers, de leurs mouvements réguliers et des deux triangles élémentaires dont ils sont composés. Je soutiens dans cet article que si nous regardons la chôra dans le contexte du récit antérieur du mouvement d’errance des planètes, dont on dit qu’elles encadrent et font ressortir le nombre et l’identité du mouvement des étoiles fixes, et que si nous comparons cela à la décomposition des triangles élémentaires dans le contexte de la vie et de la mort du corps doté d’une âme, nous pourrons discerner la chôra dans le mouvement errant du vieillissement, de l’effondrement et de l’éloignement de la limite normative dans le récit plus large de la vie dans le Timée, tant au niveau biologique que moral de la description. Cette approche permettra de rendre compte non seulement de l’unité de la pensee de Timée, mais aussi du caractère disruptif du tournant remarquable par lequel il introduit la cause errante. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:388 HISTORY OF PHILOSOPHY Beyond the Edge of Certainty: Essays in Contemporary Science and Philosophy. Edited with an Introduction by Robert G. Colodny. (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1965.) This is the second volume of lectures on various current topics in the philosophy of the physical, biological, and social sciences which has been published under the auspices of the Center for Philosophy of Science at the University of (...) Pittsburg. Volume I, Frontiers o] Science and Philosophy, also edited by Professor Colodny, appeared in 1962. Five of the seven lectures contained in this volume treat topics which fall within the philosophy of physics. The persistent student who is without a technical background in either logic or physics will find these for the most part quite readable. Considering this, it is worthy of note that, while the lectures are not of uniform quality in this respect, several problems are treated with sufficient freshness of insight to justify the interest of the philosopher of science as such. Since I cannot discuss all of the lectures, I will restrict my comments, for the most part, to those the significance of which I think I understand best and which deal significantly with some aspect of the history of philosophy. In "Newton's First Law: A Philosopher's Door into Natural Philosophy," Norwood Russell Hanson exhibits what has become a widely accepted analysis of Newton's First Law as a model to be applied to theories in science which must be regarded as, in some sense, true, but which, in principle, are not empirically demonstrable. Briant Ellis, in "The Origin and Nature of Newton's Laws of Motion," deals in a somewhat parallel way with all three of Newton's laws of motion. It is argued that these laws are primarily conceptual in origin. Evidence is marshalled that they were derived from Cartesian physics. That no amount of empirical work could establish or provide support for a principle of natural motion is held by Ellis to be due to the fact that "force" is conceived as something that exists only in order to explain effects. "Since we are at liberty to choose to regard whatever changes or states we please as natural (i.e., as not being effects) it follows that the forces which we should say are operative in nature depend upon the choices we actually make" (65). It would, I think be difficult to show that any one of the points Ellis makes, with the exception of his interesting historical note on the probable origin of Newton's laws of motion, has not previously been made. All, or nearly all, of these points were set forth, at least in outline, for example, by William Werkmeister in A Philosophy o] Science. The approach Ellis makes to his development of the concept of "force," however, is both fresh and incisive and worthy of careful study. In "A Philosopher looks at Quantum Mechanics," Hillary Putnam exhibits the Copenhagen interpretation of quantum mechanics of Bohr and Heisenberg, viewed in historical perspective, as the most adequate of several unsatisfactory theories. He finds the locus of the problem to lie in a suitable definition of "measurement." Noting that Heisenberg's definition (improperly) appeals to the macrocosm conceived in terms of classical mechanics, he seeks to clarify some of the issues that must follow the attempt to define measurement within the context of quantum mechanics. Putnam holds the relative sharpness of macroobservables for Bohr and Heisenberg to be an underived assumption of their theory. Since the quantities of which macro-observables are supposed to be averages are not (in quantum mechanics) required always to exist, this assumption cannot be derived from a plausible definition of macro-observables together with a suitable formulation of the laws of quantum mechanics. Moving from Bohr and Heisenberg's conclusion that measurement requires interaction of a system (or part of a system) measured with respect to an outside system, and that macroobservables do not exist unless measured, measurement for quantum mechanics is defined as "an interaction in which a system A (the 'measured' system), which was previously isolated, interacts with a system B (the 'measuring' system) in such a way as to cause a... (shrink)

The beatific vision is central to St. Thomas Aquinas’ doctrine of the soul’s enlightenment. In its vision of the essence of God, the soul/intellect achieves its telos, its highest goal. But the resurrection of the body is a central dogma of the Christian faith, so the main question of this essay concerns the manner in which the resurrected body of the blessed benefits from the soul’s apprehension of the beatific vision. For St. Thomas, the physical eyes do not see the (...) beatific vision, since they can only see magnitude and proportion, and God is beyond both. The soul is the body’s substantial form, and a person is not fully a person without the union of soul and body. As the body’s substantial form, the soul/intellect has the beatific vision as its substantial form. The result of the enlightened intellect with the resurrected body will be that the physical eyes will be able to see more readily the glory of God in creation and in redeemed humanity, and more supremely in the incarnate Christ himself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 415-416 [Access article in PDF] Tad M. Schmaltz. Radical Cartesianism: The French Reception of Descartes. Cambridge: Cambridge University Press, 2002. Pp. xiv + 288. Cloth, $65.00.More than fifty years ago Richard H. Popkin urged historians of philosophy to work on secondary figures in philosophy, in part for their own sake, but also because the true shape of philosophy and the development (...) of major figures can be understood only through examination of the intellectual milieu out of which they arose. Among others he specifically mentioned Robert Desgabets, Jean Du Hamel, Simon Foucher, Pierre-Daniel Huet, Pierre-Sylvain Regis, and Henricus Regius. Now in Radical Cartesianism, Tad Schmaltz has provided a masterful and erudite study of these and other philosophers who are minor now but were major in their day. The importance of this study is not just that it illuminates the metaphysics of Descartes, Spinoza, and Malebranche, and clarifies the relationship of these philosophers to Arnauld, Jansenism, Plato, and the Aristotelian scholasticism of the day, but also that it opens to view an intricate and significant body of thought. The radical Cartesianism Schmaltz examines addresses and provides solutions to problems of the relationship between mind and body, between man and God, and between ideas and the external world that continue to engage philosophers today. Schmaltz concludes his study with the suggestion that these philosophers might have had more latter-day influence if larger historical events, in particular the death of Louis XIV and the subsequent relaxation of attacks on Jansenism (and on supposed Jansenist Cartesianism) had not led to interest in matters other than the Eucharist and the nature of the soul that were major issues among the radical Cartesians and their opponents.But were any of these radical Cartesians actually Cartesians? If, as Schmaltz says, the metaphysical core of Cartesianism is Descartes's doctrine that "the essence of body consists in extension and that the essence of mind consists in thought" (10), then most of his followers were not radical Cartesians, but rather heretical Cartesians. They rebelled against as many of Descartes's doctrines as they accepted. Schmaltz's careful expositions, analyses, comparisons, correlations, and extrapolations of their arguments and positions make up the bulk of his book. The detail, command of the material, insight, and breadth of Schmaltz's exposition is on an order of magnitude above previous work on these figures and will stand for a long time as a challenge to the next few generations of scholars.But if so many of these figures alter Descartes's metaphysics so radically, why do they still designate themselves as Cartesians? The major reason is that while Cartesian metaphysics was in disarray, Cartesian science was flourishing. Regius is the model. He said (directly to Descartes) that metaphysics is inessential to science, that matters of God and certainty about the existence of the external world could and should be left to faith. What was liberating during the third quarter of the century in The Netherlands and in the fourth quarter in France was Descartes's scientific method of posing hypotheses and testing them with experiments. You will never get certainty this way, but already science was advancing by leaps and bounds. Christian Huygens, who as a boy had known Descartes, belittled the man's metaphysics, but was one of the greatest and most successful practitioners of the [End Page 415] Cartesian scientific method of his time. What remains to be written is a study of late-seventeenth-century Cartesian science that is as excellent and comprehensive as Schmaltz's study of the Cartesian metaphysics of the time. Here are some problems Descartes set up that are of particular concern to the philosophers of the time. If God can do anything, even make contradictions true, then why could he not make you think you exist even when you do not? How could you think of something that does not exist? Because your thoughts have a temporal dimension, and time depends on motion, and motion pertains only to material bodies, how could you... (shrink)

Spatial, physical, and semantic magnitude dimensions can influence action decisions in human cognitive processing and interact with each other. For example, in the SNARC effect, semantic numerical magnitude facilitates left-hand or right-hand responding dependent on the small or large magnitude of number symbols. SNARC-like interactions of numerical magnitudes with the radial spatial dimension (depth) were postulated from early on. Usually, the SNARC effect in any direction is investigated using fronto-parallel computer monitors for presentation of stimuli. In such (...) 2D setups, however, the metaphorical and literal interpretation of the radial depth axis with seemingly close / far stimuli or responses are not distinct. Hence, it is difficult to draw clear conclusions with respect to the contribution of different spatial mappings to the SNARC effect. In order to disentangle the different mappings in a natural way, we studied parametrical interactions between semantic numerical magnitude, horizontal directional responses, and perceptual distance by means of stereoscopic depth in an immersive virtual reality (VR). Two VR experiments show horizontal SNARC effects across all spatial displacements in traditional latency measures and kinematic response parameters. No indications of a SNARC effect along the depth axis, as it would be predicted by a direct mapping account, were observed, but the results show a non-linear relationship between horizontal SNARC slopes and physical distance. Steepest SNARC slopes were observed for digits presented close to the hands. We conclude that spatial-numerical processing is susceptible to effector-based processes but relatively resilient to task-irrelevant variations of radial-spatial magnitudes. (shrink)

People have worried for many years — centuries — about how you perform large changes in your body of beliefs. How does the new evidence lead you to replace a geocentric system of planetary motion by a heliocentric system? How do we decide to abandon the principle of the conservation of mass?The general approach that we will try to defend here is that an assumption, presupposition, framework principle, will be rejected or altered when a large enough number of improbabilities must (...) be accepted on be basis of our experience. If I think that all swans are white, and a student claims to have a counterexample, I will assume that he has made some observational error. I will reject his result, and continue to accept the generalization. When a lot of people claim to have seen counterexamples, I will come around: to continue to accept the generalization would require me to accept too many improbabilities. (shrink)

Centuries of scientific progress have been devoted to reducing uncertainty. Newtonian physics, introduced over 300 years ago, allowed for precise prediction of planetary and tidal motion, falling bodies and infinitely more, in addition to allowing the construction of the material world. The 20th century witnessed a revolution in our understanding of organ and cellular function and dysfunction, elucidation of pathways, mediators, receptors, and molecular interactions, and breakthroughs in the characterization of replication, transcription, and translation, all of which has been integral (...) to our understanding of human physiology and pathophysiology. Clinical epidemiology has had a revolutionary impact on our .. (shrink)

This article examines a small subset of late antique veil imagery – depictions and descriptions of veils in motion – in visual and literary sources including churches, synagogues, and descriptions of the veil of the temple in Jerusalem. Architectural veils played a role in the demarcation of space, the creation of spectacle and sacrality, and the orchestration of social relations and hierarchies. By exploring the ways in which late ancient subjects envisioned, encountered, and “thought with” veils, we can chart the (...) ways that dynamics of covering and uncovering, sight and secrecy, and vision and touch, converged with ideas about gender, desire, and the sacred. (shrink)

Perceived size is a function of viewing distance, retinal images size, and various contextual cues such as linear perspective and the size and location of neighboring objects. Recently, we demonstrated that illusion magnitudes of classic visual size illusions may be greatly enhanced or reduced by adding dynamic elements. Specifically, a dynamic version of the Ebbinghaus illusion (classically considered a “size contrast” illusion) led to a greatly enhanced illusory effect, whereas a dynamic version of the Corridor illusion (a “size constancy” illusion) (...) led to a greatly diminished illusory effect. Although these differences may arise from the different processes underlying these illusions (size contrast vs. size constancy), the dynamic variants we tested in our previous work also differed in the nature of the dynamic elements; specifically, whereas the Dynamic Ebbinghaus included a moving target and inducers that changed size and position, the Dynamic Corridor only included a moving target on a static background. Here, we explore further dynamic versions of the Ebbinghaus illusion and the Corridor and Ponzo illusions by separately manipulating three types of dynamic elements: target motion, context translation, and dynamic changes in context. Across five experiments examining 21 dynamic illusory configurations, adding target motion or a dynamically changing context separately resulted in little-to-no illusory effect. In contrast, the combination of target motion and a dynamically changing context led to a robust size illusion, consistent with an interactive effect. However, illusory effects that exceeded the matched classic, static illusory configuration were only observed for the dynamic versions of the Ebbinghaus illusion and the Revealed Ponzo illusions, in which the contextual elements changed size. We conclude that the combination of target motion and a dynamically changing context are necessary to produce dynamic size illusions, but that enhancement above and beyond static illusions may be largely specific to size contrast effects. Our results have important implications for the integration of motion signals, a ubiquitous environmental stimulus, in the perception of object size. (shrink)

I examine Aristotle’s reasons in DA I.3 for rejecting the claim that understanding (nous) is a magnitude (megethos), an idea Aristotle associates most explicitly with Plato, who describes nous as a self-moving circle in the Timaeus. Aristotle shows that his definition of soul, on which soul is not a magnitude or body of any kind, can explain perception, thought, and motion better than his predecessor’s materialist accounts. But unlike perception and motion, nous is not actualized through the body (...) nor does it have a bodily organ, which makes nous a very different kind of soul capacity. Earlier thinkers, including Plato, already maintain that nous does not have a bodily organ, but they cannot explain how nous could operate or be a mover without being some sort of body itself. Even in the Timaeus, nous is described as being a kind of magnitude. But if nous were a magnitude of any kind, Aristotle claims it would not be able to think or reason. There is something about being a magnitude qua magnitude that makes reason impossible. His critique of Plato in I.3 prepares the way for his account of nous in DA III.4. (shrink)

Following lesions to the primary visual cortex, some patients maintain visual capacities within areas of the visual field in which they are defined as clinically blind by static field perimetry. Blindsight describes the ability to discriminate visual stimuli in the absence of awareness of the stimuli in such patients. Some patients exhibit blindsight, but others are aware of the stimuli with which they are presented, a response mode that has been referred to as residual vision. The two response modes are (...) of great interest as they are capable of providing us with information concerning the conscious and unconscious processing of visual signals in humans. However, determining consciousness in these patients is a difficult task and relies on the patient assessing and then reporting on his awareness. In this paper, an experiment is described which is capable of demonstrating conscious visual processing of motion under conditions where the observer is not required to assess his level of awareness. In applying this technique to a human hemianope, GY, it is demonstrated that GY has veridical and conscious perception of visual motion presented to his blind hemifield. Although previously reported, this result can be derived without any reference to GY's commentary on his blind field perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of a Reality-Based Community:Illusion and Tolerance in Music, Education, and SocietyPatrick K. SchmidtThe two questions that arise in this symposium are: What kind of world engagement is required of music education? and Should music educators participate in political understanding? While my immediate response was and is: How we can afford not to? that is, not to engage fully with the world and not to do so politically, (...) at the same time I also recognize the ways in which that has been problematic in the music education profession. Particularly, in how we continue to experience what I would call events without future: ersatz events made of illusions. Such a proposition is implicated in the following questions: How seriously are we committed to rethinking our practice and re-engaging with our ideals, traditions, visions, and discourses? Has our conception and practice of democracy disappeared (or remained unformed) in the insubstantiality of shadows? How do [End Page 160] we react to political understandings that dismiss the communities in which we live, as well as the singularities and differences that mark us? Who are those of us supposedly living in the/a "reality-based community?"1An aide of the current administration explains the White House stance by saying, "We are an empire now, and when we act, we create our own reality."2 The idea, of course, is that we not only can, but perhaps, must dissociate from such communities (particularly those that do not conform to such envisioned reality). An Empire, one might say, seeks power as well as expansion, confluence as well as stability, tradition as well as ideological certainty. It probably comes as no surprise then, that dictatorial regimes are often more stable, including economically, than new or recalcitrant democracies. (I myself grew up in such a regime in Brazil in the 1970s and early 80s.) The word "Empire" conjures up images that are localized, monocentric, confluent, and institutional. The reality today, however, seems much closer to what Antonio Negri and Richard Hardt portray:3 a reality modeled upon the production of subjects with increasingly similar desires and prone to a certain subservience to commodity and technology. But if this "we" is no longer "us" but an illusion, if this reality-based community no longer distinguishes, questions, problematizes, or engages with its own reality or realities, perhaps more than ever it is time that we began to think politically, that our assumptions and that of others be challenged, and that we seek understandings that, as Randall Allsup has proposed, "are rendered in a world that is contingent, political, and always in motion."Following the model adopted here I will address some of the concepts Estelle Jorgensen proposes, particularly those associated with the notion of supremacy and its propagation through "reductionistic and nationalistic forces." Such a vista will serve as a departing point for my own reflections on the shades, contradictions, complexities, and possibilities we might find when considering majority led silence and voicing, as well as the role of political and empathetic dialogue in our practices, be they professional and/or connected to citizenship.4A Search for the Ethical: Majority Rule?Today, music education as a society negotiates a reality that is more complex and multiple—one of a multitude of one5 —of separation through categories that, while preserving the impression of distinctiveness, allows for a larger invisible and uncontested majority to instill what Alexis de Toqueville called over a century ago the "tyranny of the majority."6 We need to consider here that, as Negri and Hardt propose, there is no one center to this Empire, "no tangible, nuclear element to be identified and/or resisted." This tyrannical majority is paradoxical, for while it dictates it is also silent.7 What is there, then, are spaces in and through which our disengagement allows for the strengthening of what is [End Page 161] perceived and experienced as inevitable, as a faceless majority that controls and decrees, that denies and structures.This tyranny of the majority, the underside of our democratic visions, can lead in politics, as in our professional practices, to a sense of the famous Foucaultian panopticon where total surveillance is... (shrink)

This article attempts to demystify computer vision for novice programmers through a survey of new applications in the arts, system design considerations, and contemporary tools. It introduces the concept and gives a brief history of computer vision within interactive art from Myron Kruger to the present. Basic techniques of computer vision such as detecting motion and object tracking are discussed in addition to various software applications created for exploring the topic. As an example, the results of a one-week machine vision (...) workshop are presented to show how designers are able to apply their skills toward creating novel uses of these technologies. The article concludes with a listing of code for basic computer vision techniques. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

Zeno’s paradoxes of motion, allegedly denying motion, have been conceived to reinforce the Parmenidean vision of an immutable world. The aim of this article is to demonstrate that these famous logical paradoxes should be seen instead as paradoxes of immobility. From this new point of view, motion is therefore no longer logically problematic, while immobility is. This is convenient since it is easy to conceive that immobility can actually conceal motion, and thus the proposition “immobility is mere illusion of the (...) senses” is much more credible than the reverse thesis supported by Parmenides. Moreover, this proposition is also supported by modern depiction of material bodies: the existence of a ceaseless random motion of atoms—the ‘thermal agitation’—in the scope of contemporary atomic theory, can offer a rational explanation of this ‘illusion of immobility’. Our new approach to Zeno’s paradoxes therefore leads to presenting the novel concept of ‘impermobility’, which we think is a more adequate description of physical reality. (shrink)