In this contribution we will approach language and images in different modalities: speech and face, anticipated and imagined movements, illusions on the sound by the image. It will be the opportunity for us to revisit the Gestalt concepts which were considered obsolete since structuralism in Humanities. As instantiated by Gilbert Durand in The Anthropological Structures of the Imaginary (1999, French 1st ed. 1960), we shall recall that Gestalt is not—even implicitly—an exclusively static approach to cognition. On the contrary we will (...) emphasize that forms can emerge from movements and stabilize in memory, thence morphology. And for speech, we will consider phonology as the stabilized outcome from audible and visible gestures of the mouth—caught in the time-course of a flow of some four in six syllables by second—via the perception of motor coordinations: which is necessary to master the most common expression of language between humans. We will adopt here also for the perceptual flows of spoken language, Multimodal Scene Analysis, the ongoing legacy of Gestalt Theory, including one of our main research topics: the gestural expression of the face and the hand for Deaf people, who practise as an augment French LPC (Langue française Parlée Complétée), adapted in 1967 from Cued Speech by its originator Dr Richard Cornett. (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)

Divided beauty (Dresden, 1764) -- Little gods of the street (Munich-Berlin, 1828) -- Plebeian heaven (Paris, 1830) -- The poet of the new world (Boston, 1841-New York, 1855) -- The gymnasts of the impossible (Paris, 1879) -- The dance of light (Paris, Folies Bergère, 1893) -- The immobile theatre (Paris 1894-95) -- Decorative art as social art: temple, house, factory (Paris-London-Berlin) -- Master of surfaces (Paris, 1902) -- The temple staircase (Moscow-Dresden, 1912) -- The machine and its shadow (Hollywood, 1916) (...) -- The majesty of the moment (New York, 1921) -- Seeing things through things (Moscow, 1926) -- The cruel radiance of what is (Hale County, 1936-New York, 1941). (shrink)

Provides a methodology for the emerging area of screen production research and research-creation from a cine-ethnomusicological perspective.

Brown examines the types of scene that exist, along with related concepts such as authenticity and the 'really' real. It also explores the effectiveness of scenes in spreading new actions and ideas, as welll as their role in both facilitating 'difference' and introducing originality and newness in modern society. Finally, the book deals with the fragility of scenes, why they can often become subsumed by normality and how this might be prevented.

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)

The Scenes of Inquiry advocates a radical shift of concern in philosophical, historical, and sociological studies of the sciences, from answers and doctrines to questions and problems, and explores the consequences of such a shift. Nicholas Jardine has expanded the book considerably for this paperback edition, adding a substantial preface, an extensive bibliography, and three new essays which develop the book's themes and pursue its aims further. 'Philosophers, historians, sociologists, and not least scientists, should read it' Times Higher Education Supplement.

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different (...) agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity. (shrink)

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different (...) agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity. (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)

BackgroundIt has been well investigated that nature exposure intervention can restore directed attention and improve subsequent cognitive performance. The impairment of decision-making skills in mentally fatigued soccer players was attributed to the inability of attention allocation. However, nature exposure as the potential intervention to counter mental fatigue and improve the subsequent decision-making skill in soccer players has never been investigated.ObjectsThis study aimed to evaluate the effects of nature exposure intervention on decision-making skills among mentally fatigued university soccer players. Moreover, different (...) durations of nature exposure were also evaluated.MethodsA random control between-subject design was adopted. Players were randomly assigned into six groups with three different durations of the experimental group compared with the corresponding control group. All players were first mentally fatigued by performing a 45-min Stroop task; then, they viewed virtual photos of natural or urban scenes; and finally, they performed a soccer decision-making task.ResultsThe subjective ratings of mental fatigue were significantly higher following the Stroop task. Only Exp 3 significantly improved decision-making reaction time compared with Con 3. Moreover, the accuracy slightly increased in Exp 3 after the intervention.ConclusionIn line with attention restoration theory, nature exposure significantly improved decision-making skills in mentally fatigue university players. However, the duration must be 12.50 min for each stimulus to stay longer to attract involuntary attention. (shrink)

Brings the figure of the voice and the problem of mimesis in Heidegger and post-Heideggerian continental thought to bear on the dismissal of language by the affective and aesthetic turns of contemporary critical theory.

Resumen Las tecnologías digitales han transfigurado el campo del arte teatral y vienen produciendo una serie de mutaciones que afectan la tradición perceptiva del espectáculo vivo. Para acercarnos a esos nuevos modos de comunicación que establece hoy el teatro, robustecido en el cruce con estas tecnologías, acudiremos al concepto de remediación planteado por Bolter y Grusin, para examinar en dos performances representativas de la escena latinoamericana del siglo XXI (Sin sangre, de Teatrocinema, yOthelo, de Buendía Theatre), las maneras cómo la (...) opacidad del medio (hipermediación) o su transparencia (inmediación) contribuyen a la construcción de las poéticas tecnológicas sobre la escena misma. Abstract Digital technologies have transfigured the field of theatrical art and have been producing a series of mutations that affect the perceptive tradition of live performance. To approach these new modes of communication that theater establishes today, strengthened in the intersection with these technologies, we will turn to the concept of remediation proposed by Bolter and Grusin, to examine two representative performances of the Latin American scene of the 21st century (Sin Sangre, by Teatrocinema, and Othelo, by Buendía Theatre), the ways in which the opacity of the medium (hypermediation) or its transparency (immediacy) contribute to the construction of technological poetics on the scene itself. (shrink)

Block shows that we can consciously see a scene without being able to identify all the individual items in it. But in itself this fails to drive a wedge between phenomenology and access. Once we distinguish scene phenomenology from item phenomenology, the link between phenomenology and access is restored.

Seit jeher sind Künstler und Publikum zugleich fasziniert und abgestoßen von obszönen Darstellungen. Dabei lässt sich gar nicht genau definieren, was das Obszöne ist. Eine Auslegung besagt, dass das Obszöne - in seiner Ableitung von "ob skene": abseits der Szene - dasjenige bezeichnet, das nicht gesehen werden darf. Es ist demnach das, was moralisch verwerflich oder gar verboten, was gefährlich oder unerträglich anzusehen ist. An den drei Themenfeldern Sexualität, Abjektion und Gewalt orientiert sich der Band, der Spielarten des Obszönen in (...) der Kunstgeschichte beleuchtet. Im diachronen Blick auf die historisch wechselnden Auffassungen des Obszönen wird danach gefragt, mit welchen Mitteln Künstlerinnen und Künstler seit dem Mittelalter herrschende Moral-, Sexual- oder Wertvorstellungen - und ihre Überschreitung - zum Thema gemacht haben, welche Ziele sie damit verfolgten und welche Aussagen über die kulturelle Physiognomie ihrer Epoche sich aus ihren "obszönen" Werken ableiten lassen. (shrink)

The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author's basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the relief based on Panofsky's iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling (...) a horse's tail aims to enrich the analysis of the interpretation. Both the narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh, a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism. This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and globalizing. (shrink)

Investigating Animal Abuse Crime Scenes: A Field Guide is designed for first responders-such as animal control officers and police officers-as well as forensic scientists and other criminal justice professionals who are who are tasked with processing and analyzing animal crime scenes and evidence. The book serves equally as a useful resource for those in the field and laboratory, in addition to those professionals who are further along in the investigative and judicial process.

Contextual regularities, that is, objects’ tendency to appear with certain other objects, facilitate the processing of visual scenes and confer contextually incongruent objects with a special attentional status. This study was aimed at investigating the mechanisms underlying this attentional advantage using Binocular Rivalry . In two experiments, congruent and incongruent images were pitted against each other, yielding a version of BR in which two objects rival within a given scene. Incongruent objects predominated in awareness longer than congruent ones. This (...) effect stemmed from the fact that their dominance epochs lasted longer on the average than those of congruent objects, suggesting a difficulty to disengage attention from such objects. On the other hand, no support was found for the notion that incongruent objects also attract attention. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

This book advocates a radical shift of concern in philosophical, historical, and sociological studies of the sciences, and explores the consequences of such a shift. The historically-oriented first part of the work deals with the ways in which ranges of questions become real and cease to be real for communities of inquirers. The more philosophically-oriented second part of the work introduces the notion of absolute reality of questions, and addresses doubt about the claims of the sciences to have accumulated absolutely (...) real questions. It is argued that recent studies in the sociology and social history of the science pose strong challenges to the sciences by revealing how appeals to authority, vested interests, and rhetorical and aesthetic sensibilities play substantial roles in the practices of the sciences. The final chapter defends the pragmatic stance of the work, and of its companion, The Fortunes of Inquiry, and draws morals about the roles of criticism and reflection in the philosophy of science and in the sciences themselves. (shrink)

This essay follows the movements of the word “scene” across post-war French thought. The word appears at pivotal moments in the period: it is at the centre of Laplanche and Pontalis’ develo...

We conducted two experiments using naturalistic scene stimuli to test the resource theory and mindlessness theory of sustained attention. In experiment 1, 28 participants completed a traditional formatted vigilance task consisting of non-repeating forest or urban picture stimuli as target stimuli. Participants filled out pre- and post-task assessments of arousal and conscious thoughts. There was still a vigilance decrement, despite non-repetitive, natural target stimuli. Participants found the task demanding and were actively engaged in the task. In experiment 2, 25 (...) participants completed a Sustained Attention to Response Task using the stimuli from experiment 1. Participants performed significantly worse on this SART than either brain injury patients or controls performing equivalent numeric stimuli SARTs have in previous studies. Participants thought the task was demanding and they were actively engaged with the task. Overall, the results of both studies support a resource theory of sustained attention lapses, not a mindlessness theory. (shrink)

Cet article rassemble le corpus des scènes apolliniennes et dionysiaques du peintre de Pothos, actif dans le dernier tiers du Ve siècle ; ces scènes occupent une place prépondérante dans le répertoire du peintre. L'étude des vases montre que les mêmes schémas peuvent convenir aux deux cycles, tandis que la confrontation avec les œuvres de peintres contemporains met en valeur une certaine originalité.

This study has two agendas: to interrogate popular notions of religion by reading it, out of Derrida and Certeau, as a signifier for a situated historical scene; and to show the existential philosophy of Beauvoir as a performance of that scene. In particular, it shows how the structure of relationships she presents in her ethics clearly reproduces the rhythms of the scene of religion. One of the implications of this reproduction is that existential philosophy can only emerge (...) in the context of religion, and is necessarily an iteration of religion. The other implication is that we might reassess how we code the category ‘religion’ in our public and private discourse, with all the disruption that such a different coding might entail. (shrink)

According to the "confrontation model," integrated history and philosophy of science operates like an empirical science. It tests philosophical accounts of science against historical case studies much like other sciences test theory against data. However, the confrontation model's critics object that historical facts can neither support generalizations nor genuinely test philosophical theories. Here I argue that most of the model's defects trace to its usual framing in terms of two problematic accounts of empirical inference: the hypothetico-deductive method and enumerative induction. (...) This framing can be taken to suggest an unprofitable one-off confrontation between particular historical facts and general philosophical theories. I outline more recent accounts of empirical inquiry, which describe an iterative back-and-forth movement between concrete empirical exemplars to their abstract descriptions. Reframed along similar lines, the confrontation model continues to offer both conceptual insight and practical guidance for a naturalized philosophy of science. (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)

This article explores various scenes of shame, raising the questions of what shame discloses about the self and how this self-disclosure takes place. Thereby, the common idea that shame discloses the self’s debasement will be challenged. The dramatic dialectics of showing and hiding display a much more ambiguous, dynamic self-image as result of an interactive evaluation of oneself by oneself and others. Seeing oneself seen contributes to the sense of who one becomes. From being absorbed in what one does, one (...) might suddenly become self-aware, shift viewpoints and feel pressed to put on masks. In putting on a mask, one relates to oneself in distancing oneself from oneself. In being at once a moral agent and a performing actor with an audience and norms in mind, one embodies and transcends the social roles one takes. In addition to the feeling of shame, in which the self finds itself passively reflected, the self’s active reflections on its shame are to be taken into account. As examples from Milan Kundera, Shakespeare’s King Lear, a line from Kingsley Amis, a speech by Vaclav Havel and Adam Smith’s Theory of Moral Sentiments indicate, self-presentation in the public and the private sphere is a complex hermeneutical process with surprising twists. (shrink)

This study investigates to what extent the amount of variation in a visual scene causes speakers to mention the attribute color in their definite target descriptions, focusing on scenes in which this attribute is not needed for identification of the target. The results of our three experiments show that speakers are more likely to redundantly include a color attribute when the scene variation is high as compared with when this variation is low (even if this leads to overspecified (...) descriptions). We argue that these findings are problematic for existing algorithms that aim to automatically generate psychologically realistic target descriptions, such as the Incremental Algorithm, as these algorithms make use of a fixed preference order per domain and do not take visual scene variation into account. (shrink)

Proposes a new theory of communication called "comparative media theory.".

Quelles mutations de la scène contemporaine le concept de paysage, de plus en plus présent dans le discours théâtral actuel, est-il capable d’éclairer? De quoi le paysage est-il le nom? Par le prisme de la scène-paysage, l’article engage une réflexion sur les possibles conceptions d’une scène non anthropocentrique, en visitant des spectacles de Robert Wilson, Claude Régy et Maguy Marin. Ni décor pour les personnages ni fond de scène pour les acteurs, le paysage, caractérisé par la ligne d’horizon qui l’unifie (...) et par son absence de centre, nous inciterait à penser la scénographie en lien direct avec l’activité cognitive du spectateur et, plus précisément, avec l’expérience du regard. (shrink)

Prakash Nair has made comments about the kind of spatial planning that educationists should make for the purpose of improving, and refining the architectural model of the school that can be adopted in the twenty-first century. These remarks imply that an “old” and out-dated architectural model needs to be replaced by one that is better suited to the kinds of workers that children will become when they graduate, so that schools can more effectively prepare students for the workforce to come. (...) In this article, I argue that his proclamation that “the classroom is obsolete” should be interpreted in the context of neo-liberalism, alongside similarly hyperbolic claims by Francis Fukuyama in 1989 that the fall of the Berlin Wall signified the “end of history”. By addressing the rhetorical structure of such remarks, I deconstruct Prakash Nair’s promise to build a better future for education. Additionally, I argue that educational researchers may benefit from thinking of the classroom as a fictional place, a “scene” that does not always bear identical and universal attributes, owing to the diversity of cultural and geographical contexts in which classrooms are found. (shrink)

Translation of the death scene from Phaedo by Plato.

En considérant la fabrique cinématographique comme une expérience politique et artistique, et un film terminé comme le lieu d’un regard singulier d’un·e cinéaste, cet article entend analyser le rapport au temps qu’entretiennent les acteurs·trices de la scène cinématographique au Liban depuis les trois dernières années. Du soulèvement de 2019 à l’année 2022, la relation au temps se caractérise par une incertitude constante qu’il convient d’explorer, avec d’une part les temporalités de la fragmentation liées au contexte du pays, et d’autre part, (...) les temporalités de la conception d’une œuvre. Comment est-ce que la temporalité de la création d’un film, souvent longue et difficile, s’imbrique-t-elle dans les multiples temporalités du pays faites d’une accumulation de crises? (shrink)

That the most poetic of all the Greek philosophers should also be the severest judge of the poets was a perpetual embarrassment to his disciples and an invitation to enemies who could never have found their way into the difficulties of his thought. At the hands of Colotes, an early Epicurean, Plato became the butt of his own asperities; the allegorist Heraclitus, showing equal contempt for Plato and for ‘the Phaeacian Epicurus’, found that philosophy lent itself to vices for which (...) the Iliad and the Odyssey had no name. Proclus, in his Commentary on the Republic, has the task of reconciling Homer with Plato, and of showing that the mythopoeic faculty is an instrument of the profoundest thought in both. (shrink)

"As one of Louis Althusser's most brilliant students in the 1960s, Etienne Balibar contributed to the theoretical collective masterpiece of Reading Capital. Since then he has established himself amongst the most subtle philosophical and political thinkers in France. In Politics and the Other Scene Balibar deepens and extends the work he first developed with Immanuel Wallerstein in Race, Nation, Class. Exploring the theme of universalism and difference, he addresses questions such as "European racism, " the notion of the border, (...) whether a European citizenship is possible or desirable, violence and politics, identity and emancipation"--provided by publisher. (shrink)