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)

Leader behavioral integrity (BI) is central to perceived credibility and thus to leaders’ effectiveness at fostering ethical and other climates. Our research broadens the theoretical foundation for BI research by integrating the cognitive–attributional role of trust in the formation and maintenance of leader BI perceptions. Guided by recent research on trust primacy and prior theories of fairness used to examine ethical behavior, we examine how perceptions of leader BI can be either diminished or maintained through trust velocity following a (...) psychological contract breach. Using a field and an experimental study, we explore the manner in which followers perceive leader’s actions when conflicting interests lead to unfulfilled promises. We found that trust velocity mediates the relationship between a psychological contract breach and leader BI (study 1), and that informational justice moderates this relationship (study 2), suggesting that leaders can attenuate the impact of broken promises on ascribed BI. Our findings offer a pathway for leaders operating in dynamic contexts to preserve BI and also help address concerns that have been raised about the behavioral integrity construct regarding its conceptual overlap with related constructs such as trust, psychological contracts, and informational justice. (shrink)

Little is known about distance processing in patients with posterior brain damage. Although many investigators have claimed that distance estimates are normal or abnormal in some of these patients, many of these observations were made informally and the examiners often asked for relative, and not absolute, distance estimates. The present investigation served two purposes. First, we wanted to contrast the use of distance information in peripersonal space for perceptual report as opposed to visuomotor control in our visual form agnosic patient, (...) DF. Second, we wanted to see to what extent her abilities to process distance cues were dependent on binocular vision, in light of Milner et al.'s (1991) observations of preserved stereopsis in DF, and Dijkerman et al.'s (1996) and Marotta et al.'s (1997) observations that her visual guidance of grasping may be particularly dependent on binocular vision of the target. We hypothesized that DF's visuomotor responses would show normal sensitivity to target distance, while her perceptual estimates would not. In the first experiment, we required DF and two age- and sex-matched control subjects to reach out and grasp black cubes placed at varying distances, or to estimate the distance of the cubes from the hand starting position without making a reaching movement. In the second experiment, we required DF and two age-matched control subjects to point as rapidly and accurately as possible to small LED targets which differed in spatial location, under binocular and monocular conditions. The results showed that, relative to the control subjects, DF's grasping movements produced normal peak velocity-distance scaling-when she reached for blocks which varied in depth or pointed to LED targets which were presented at different distances in depth. In contrast, in the cube experiment, her verbal estimates of object distance were poorly scaled, although they improved slightly under the binocular conditions. The results are discussed in terms of current theories of processing streams in extrastriate visual cortex and the distinction between categorical and coordinate spatial processing. (shrink)

Four-month-old infants were allowed to manipulate, without vision, two rings attached to a bar that permitted each ring to undergo rotary motion against a fixed surface. In different conditions, the relative motions of the rings were rigid, independent, or opposite, and they circled either the same fixed point outside the zone of manipulation or spatially separated points. Infants’ perception of the ring assemblies were affected by the nature of the rotary motion in two ways. First, infants perceived a unitary (...) object when the felt ends of the object underwent a common, rigid rotary motion; perception of object unity was stronger in this condition than when the ends underwent either independent or opposite rotary motions. Second, infants perceived two distinct objects when the felt ends of the objects underwent independent rotary motions that centred on distinct fixed points. Perception of the distinctness of the objects was less clear when the ends underwent opposite or independent rotary motions that centred on a common fixed point. These findings provide the first evidence that infants are sensitive to rotary motion patterns and can extrapolate a global pattern of rigid motion from the distinct, local velocities that they produce and experience at their two hands. (shrink)

The automatic tendency to anthropomorphize our interaction partners and make use of experience acquired in earlier interaction scenarios leads to the suggestion that social interaction with humanoid robots is more pleasant and intuitive than that with industrial robots. An objective method applied to evaluate the quality of human–robot interaction is based on the phenomenon of motor interference (MI). It claims that a face-to-face observation of a different (incongruent) movement of another individual leads to a higher variance in one’s own movement (...) trajectory. In social interaction, MI is a consequence of the tendency to imitate the movement of other individuals and goes along with mutual rapport, sense of togetherness, and sympathy. Although MI occurs while observing a human agent, it disappears in case of an industrial robot moving with piecewise constant velocity. Using a robot with human-like appearance, a recent study revealed that its movements led to MI, only if they were based on human prerecording (biological velocity), but not on constant (artificial) velocity profile. However, it remained unclear, which aspects of the human prerecorded movement triggered MI: biological velocity profile or variability in movement trajectory. To investigate this issue, we applied a quasi-biological minimum-jerk velocity profile (excluding variability in the movement trajectory as an influencing factor of MI) to motion of a humanoid robot, which was observed by subjects performing congruent or incongruent arm movements. The increase in variability in subjects’ movements occurred both for the observation of a human agent and for the robot performing incongruent movements, suggesting that an artificial human-like movement velocity profile is sufficient to facilitate the perception of humanoid robots as interaction partners. (shrink)

ArgumentAfter having measured the velocity of the nervous impulse in the 1850s, Helmholtz began doing research on the temporal dimensions of visual perception. Experiments dealing with the velocity of propagation in nerves were carried out occasionally for some fifteen years until their final publication in 1871. Although the temporal dimension of perception seems to have interested Helmholtz less than problems of geometry and space, his experiments on the time of perception were technically rather subtle and (...) seminal, especially compared with experiments performed by his contemporaries, such as Sigmund Exner, William James, Rudolf Hermann Lotze, Ernst Mach, Wilhelm Volkmann, and Wilhelm Wundt. Helmholtz’s conception of the temporal aspects of perception reflects the continuity that holds between psychophysiological research and the Kantian philosophical background. (shrink)

Speed is an obvious facet of contemporary society, whereas slowness has often been dismissed as conservative and antimodern. Challenging a long tradition of thought, Lutz Koepnick instead proposes we understand slowness as a strategy of the contemporary--a decidedly modern practice that gazes firmly at and into the present's velocity. As he engages with late twentieth- and early twenty-first-century art, photography, video, film, and literature, Koepnick explores slowness as a critical medium to intensify our temporal and spatial experiences. Slowness helps (...) us register the multiple layers of time, history, and motion that constitute our present. It offers a timely mode of aesthetic perception and representation that emphasizes the openness of the future and undermines any conception of the present as a mere replay of the past. Discussing the photography and art of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the films of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and Bill Viola; and the fiction of Don DeLillo, Koepnick shows how slowness can carve out spaces within processes of acceleration that allow us to reflect on alternate temporalities and durations. (shrink)

Perceptual fluency is the subjective experience of ease with which an incoming stimulus is processed. Although perceptual fluency is assessed by speed of processing, it remains unclear how objective speed is related to subjective experiences of fluency. We present evidence that speed at different stages of the perceptual process contributes to perceptual fluency. In an experiment, figure-ground contrast influenced detection of briefly presented words, but not their identification at longer exposure durations. Conversely, font in which the word was written influenced (...) identification, but not detection. Both contrast and font influenced subjective fluency. These findings suggest that speed of processing at different stages condensed into a unified subjective experience of perceptual fluency. (shrink)

While mechanics was developed under the idea of reciprocal action (interactions), electromagnetism, as we know it today, takes a form more akin to unilateral action. Interactions call for spatial relations, unilateral action calls for space, just one reference centre. In contrast, interactions are matters of relations that require at least two centres. The development of the relational electromagnetism encouraged by Gauss appears to stop around 1870 for reasons that are not completely clear but are certainly not solely scientific. By the (...) same time, Maxwell recognised the equivalence in formulae of his electromagnetism and the one advocated by Gauss and called for an explanation of why such theories so differently conceived have such a large part in common. In this work we reconstruct and update the relational electromagnetism up to the contributions of Lorentz guided by the non-arbitrariness principle (NAP) that requests arbitrary choices to be accompanied by groups of symmetries. We show that a-priori there must be two more symmetries in electromagnetism, one related to the breaking (in the description) of the relation source/detector and one relating all the perceptions of the same source by detectors moving with different (constant) relative velocities. We show that the idea of electromagnetic waves put forward in concept by Lorenz (1861-1863) before Maxwell (1865) and in formulae (1867) just after Maxwell, together with the ``least action principle'' proposed by Lorentz are enough to derive Maxwell's equations, the continuity equation and the Lorentz' force, and that there is a dual formulation in terms of fields of the receiver (as opposed to fields of the source). While Galilean transformations are associated with removing the arbitrariness implied in the election of a reference space, they will not explicitly appear in a formulation based upon a relational space although we occasionally mention their usefulness. In contrast, Lorentz' transformations will emerge in this formulation involving the relations between the perceived fields of different receivers. Moreover, the role of the full Poincaré-Lorentz group as a group of transformations of the perceived actions is elucidated. In summary, we answer Maxwell's philosophical question showing how the same theory in formulae can be abduced using different inferred entities. Each form of abduction implies as well an interpretation and a facilitation of the theoretical construction. This work relies heavily on logical concepts as abduction put forward by C. Peirce, needed for the construction of theories. (shrink)

The aim of this study was to test the effect of face cooling with cold water vs. face cooling with neutral water during high-intensity swimming training on both the core temperature and thermal perceptions in internationally ranked long-distance swimmers during 2 randomized swimming sessions. After a standardized warm-up of 1,200 m, the athletes performed a standardized training session that consisted of 2,000 m at a best velocity then 600 m of aerobic work. Heart rate was continuously monitored during 5 (...) × 400 m, whereas Tco, thermal comfort, and thermal sensation were measured before and after each 400 m. Before and after each 400 m, the swimmers were asked to flow 200 mL of cold water or neutral water packaged in standardized bottles on their face. The swimmers were asked don’t drink during exercise. The velocity was significantly different between cold water and neutral water. The Tco was increased by ±0.5°C at race pace, under both face cooling conditions with no significant difference. No significant changes were noted in mean HR. TC was higher with Cold Cooling than Neutral Cooling and TS was lower with Cold cooling compared with Neutral cooling. The changes in perceptual parameters caused by face cooling with cold water reflect the psychological impact on the physical parameters. The mean velocity was less important with face cooling whereas the heat rate and Tco were the same in the both conditions. The mechanism leading to these results seems to involve brain integration of signals from physiological and psychological sources. (shrink)

In our times, when the pace of economic, scientific and technological, social and cultural change calls to mind the relativist velocities of contemporary physics, Einstein's criterion begins to be applicable to the historical process itself; movement can be recorded (and consequently the notion of velocity acquire meaning) provided an adequate reference system is available. Where science is concerned, such systems have always existed: historians have brought out the increase in adequate knowledge in the past by comparing it with present (...) knowledge, which then offered a system of absolute reference. But now, the theory of relativity, quantum mechanics, molecular biology and the radical transformation of standards of value in all cultural areas have made like absolutization of contemporary ideas impossible. Today ideas furnish no more than a point of departure for non-classical retrospection which, as Jaurès said, seeks the fire, not. the ashes, in the history of science. But: the fire of science, its dynamics, its movement, is inseparable from its value, its effect, its psychological ‘accompaniment.’ Contemporary science, with unprecedented dynamism, is distinguishable from classical science by its far more emotional coloring. It lays bare not only the logical collisions of knowledge but also the emotional collisions. Einstein called the history of science the ‘drama of ideas.’ A drama which sometimes turns into a tragedy. The tragic sense Lorentz was aware of in the crumbling of old conceptions is easily perceptible in the remark he made when he confessed he would have prefered to be dead before the structure of classical physics collapsed. For Erenfest the tormenting experience of a personal inability to understand the positive bases of non-classical physics was also tragic and, according to Einstein, was what drove him to suicide. Einstein's own dissatisfaction tor thirty years while he strove in the field theory alone to find a stable universal conception possessing more complete ‘internal perfection’ than the then existing solution, was again tragic. The real characteristic of the collisions of non-classical science, however, is their ambivalence: the tragic notes blend with the optimistic perception of irreversible general progress in knowledge. The collisions of knowledge and this optimistic perception together sound a very complex chord, major on the whole, but with minor harmonics. (shrink)

Psychological momentum (PM) is thought to be a force that influences judgment, emotion, and performance. Based on a review of the extant literature, we elucidate two distinct approaches that researchers have adopted in their study of PM: the input-centered approach and the output-centered approach. Consistent with the input-centered approach, we conceptualize PM as a process whereby temporal and contextual PM-like stimuli (i.e., perceptual velocity, perceptual mass, perceptual historicity, and perceptually interconnected timescales)—initially perceived as an impetus—are extrapolated to imagined future (...) outcomes through mental simulation. In turn, and consistent with the output-centered approach, we posit that mental simulation elicits experiential (e.g., perceptual, cognitive, emotional) and behavioral states that govern goal pursuit, and that the pursuit of goals further influences perceptions of self, environment, and action quality. In all, we suggest that PM is interdependently linked to perceptions and behaviors in the sense that PM both influences and is influenced by changes in self-perceptions, environmental perceptions, and behavior, and we conclude by linking the PM construct to recent work on prospection. (shrink)

Newton began his optical studies believing in the modification theory, which was still universally accepted at that time, and in the perception of colour as a physiological process—a process in which the eye responds differently to the different velocities of identical globules. His discovery that white light is heterogeneous led him to switch to considering colour in purely physical terms.A century later, Goethe started out by accepting Newton's physical theory. He soon abandoned it, however, finding modification to be more (...) in keeping with his own insights. One beneficial consequence of this was that he developed an awareness of the importance of the physiological aspect of colour perception, and was therefore able to demonstrate that Newton's theory of light and colours is too simplistic; that there is more to colour than variable refrangibility. (shrink)

The problem of time is not an entirely physical problem. Physics itself does not contain a “time theory". That is particularly true in the sense that physics has not made any direct attempts to find the natural-science definition of the notion of time. Nevertheless, the concept of time emerges in science one way or another and still requires an explanation. Time fulfills an important role in the physics of XX and XXI centuries, though often a hidden one. Such a statement (...) could be applied to both theories of macrocosm and microcosm. In the theory of relativity, time has been established as a secondary feature, a derivative of velocity and mass. However, it exists (although, as an illusion) and yet evokes the need of its philosophical interpretation. In quantum field theory time also (though implicitly) occurs according to the interpretation of the experiment results - for example, “where the particle was before its observation". Such “before"-cases indicate the very presence of time (more precisely, the observer's perception of its presence). Further theories, which have been the attempts to solve the problem of incompatibility of general relativity theory and quantum mechanics, such as the theory of loop quantum gravity, superstring theory, Shape Dynamics and others, also mention the concept of time. Time fulfills there a definite role and again evokes the question of its explanation in the frameworks of these theories. Most importantly, to find an exact meaning of this “time" term used here. This article deals with the problem of time in the context of several theories of modern physics. In particular, it attempts to give a definition of the term of time in relation to the philosophy of physics (physics itself does not characterize it). Such a task formulation has its relevance and novelty due to the facts that the discourse on the nature of time is still stipulated by Zeno's paradoxes, and the philosophy of science uses the obsolete vocabulary while describing the term. However, evidence suggests that modern physics has developed the new rules, or to be more precise, has stated the new principles, which the philosophy of science can not take into consideration without changing its vocabulary (the last also involves the modernization of intellectual intuition). (shrink)

We argue four points. First, perception always relies on environmental constraints, not only in special cases. Second, constraints are taken advantage of by detecting information granted by the constraints rather than by internalizing them. Third, apparent motion phenomena reveal reliance on constraints that are irrelevant in everyday perception. Fourth, constraints are selected through individual learning as well as evolution. The “perceptual-concept-of-velocity” phenomenon is featured as a relevant case. [Hecht; Kubovy & Epstein; Shepard].

Alterations in dural venous sinus hemodynamics have recently been suggested as the major contributing factors in venous pulsatile tinnitus. Nevertheless, little is known about the association between real-time alterations in hemodynamics and the subjective perception of venous PT. This study aimed to investigate the hydroacoustic correlations among diverticular vortices, mainstream sinus flow, and PT using various Doppler ultrasound techniques. Nineteen venous PT patients with protrusive diverticulum were recruited. The mainstream sinus and diverticular hemodynamics before and after ipsilateral internal jugular (...) vein compression were investigated using an innovative retroauricular color-coded Doppler method to examine the correlation between the disappearance of PT and hemodynamic alterations. To reveal the hydroacoustic characteristics of disparate segments of venous return, a computational fluid dynamics technique combined with the transcranial color-coded Doppler method was performed. When the ipsilateral IJV was compressed, PT disappeared, as the mean velocity of mainstream sinus flow and diverticular vortex decreased by 51.2 and 50.6%, respectively. The vortex inside the diverticulum persisted in 18 of 19 subjects. The CFD simulation showed that the flow amplitude generated inside the transverse–sigmoid sinus was segmental, and the largest flow amplitude difference was 20.5 dB. The difference in flow amplitude between the mainstream sinus flow and the diverticular flow was less than 1 dB. In conclusion, the sensation of PT is closely associated with the flow of kinetic energy rather than the formation of a vortex, whereby the amplitude of PT is correlated to the magnitude of the flow velocity and pressure gradient. Additionally, the range of velocity reduction revealed by the RCCD method may serve as a presurgical individual baseline curative marker that may potentially optimize the surgical outcomes. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that (...) the blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

This wide ranging discourse covers many disciplines of science and the human condition in an attempt to fully understand the manifestation of time. Time's Paradigm is, at its inception, a philosophical debate between the theories of 'Presentism' and 'The Block Model', beginning with a pronounced psychological analysis of 'free will' in an environment where the past and the future already exist. It lays the foundation for the argument that time is a cyclical, contained progression, rather than a meandering voyage into (...) infinity, bringing into question the validity of a commensurate 'Big Bang'. Following, the proposal widens to encompass physics. It tackles clock rates and time dilation, acausality and the nuisance of a universal clock, and demonstrates that conscious consideration creates the present moment - time's flow - separating the solid state past and future whose reality is devoid of space. Arguments relating to Quantum Physics theory, including the Uncertainty Principle and a Superposition of States, lend credibility to key areas involving cognitive awareness. It is posited that defined points in time and space prohibit progress in linear models for progression. Thus motile paradoxes can be resolved with the absence of infinities; temporal perception, it is concluded, being the result of uncertainty. Time's Paradigm takes the bold step of asking us to consider a tangible dimension of time, representing an intimate extension of our three, known spatial dimensions. Chaos theory is briefly introduced leading to the configuration of a fractal fourth dimension of time whose assumption demands only one direction of flow. Further, it asks whether our universe is expanding or contracting. It considers the simple physics of bodies contracting in a fourth dimension of time (UC), and how that marries comfortably with standard scientific models such as Special Relativity. The rate at which matter is contracting in the universe is illustrated in a reduction factor of 1.618... coinciding with Fibonacci's Ratio and countering Time Dilation. Lastly the more complex aspects of relativistic velocities are tackled together with the conundrum of Zero Velocity and The Speed of Light being attributes of the same event in Cyclical Space-Time, and ultimately, the prospect of superluminal velocities by interaction with parallel time-zones in a multi-layered block universe. (shrink)

The empirical literature on phenomenal causality (i.e., the notion that causality can be perceived) is reviewed. In Part I of this two-part series, different potential types of phenomenal causality (launching, triggering, reaction, tool, entraining, traction, braking, enforced disintegration and bursting, coordinated movement, penetration, expulsion) are described. Stimulus variables (temporal gap, spatial gap, spatial overlap, direction, absolute velocity, velocity ratio, trajectory length, radius of action, size, motion type, modality, animacy) and observer variables (attention, eye movements and fixation, prior experience, (...) intelligence, age, culture, psychopathology) that influence phenomenal causality are reviewed. This provides the necessary background for consideration in Part II (Hubbard, in press) of broader questions regarding properties of phenomenal causality, empirical and theoretical connections of phenomenal causality to other perceptual or cognitive phenomena or processes, and potential mechanisms and models of phenomenal causality. (shrink)

I defend the thesis that most or all perceptual experiences are infused with imaginative contributions. While the idea is not new, it has few supporters. I begin by developing a framework for the underlying debate. Central to that framework is the claim that a perceptual experience is infused with imagination if and only if there are self-generated contributions to that experience that have ampliative effect on its phenomenal and directed elements. Self-generated ingredients to experience are produced by the subject as (...) opposed to being received from the world. Some form of stored content is an obvious starting point. Ampliative effects are aspects of perceptual experience that outstrip the content the senses get from the world. This conceptual framework is applied to three case studies: object-sameness and object-kind recognition (section 2), memory colour (section 3), and perceptual constancy and amodal completion (section 4). If the three cases and my overall analysis are accepted (a substantive if), then we have a forceful inductive argument for perception being infused with imagination. (shrink)

ABSTRACT In this journal, Middleton and Murgueitio Ramírez argue that absolute velocity is measurable, contrary to the received wisdom. Specifically, they claim that ‘there exists at least one reasonable analysis of measurement according to which the speedometer in [a world called “the Basic World”] measures the absolute velocity of the car.’ In this note, I critically respond to that claim: the analysis of measurement that Middleton and Murgueitio Ramírez propose is not reasonable; nor does it entail that absolute (...) velocities are measurable. (shrink)

Research on moral distress has paid limited attention to nurses’ responses and actions. In a survey of nurses’ perceptions of moral distress and ethical climate, 292 nurses answered three open-ended questions about situations that they considered morally distressing. Participants identified a range of situations as morally distressing, including witnessing unnecessary suffering, being forced to provide care that compromised values, and negative judgments about patients. They linked these situations to contextual constraints such as workload and described responses, including feeling incompetent and (...) distancing themselves from patients. Participants described considerable effort to effect change, calling into question the utility of defining moral distress as an “inability to act due to institutional constraints” or a “failure to pursue a right course of action.” Various understandings of moral distress operated, and action was integral to their responses. The findings suggest further conceptual work on moral distress and effort to support system-level change. (shrink)

Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. It will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection of (...) Lacanian psychoanalysis and continental philosophy. (shrink)

Starting from the formal expressions of the hydrodynamical (or “local”) quantities employed in the applications of Clifford algebras to quantum mechanics, we introduce—in terms of the ordinary tensorial language—a new definition for the field of a generic quantity. By translating from Clifford into tensor algebra, we also propose a new (nonrelativistic) velocity operator for a spin- ${\frac{1}{2}}$ particle. This operator appears as the sum of the ordinary part p/m describing the mean motion (the motion of the center-of-mass), and of (...) a second part associated with the so-called Zitterbewegung, which is the spin “internal” motion observed in the center-of-mass frame (CMF). This spin component of the velocity operator is nonzero not only in the Pauli theoretical framework, i.e., in the presence of external electromagnetic fields with a nonconstant spin function, but also in the Schrödinger case, when the wavefunction is a spin eigenstate. Thus, one gets even in the latter case a decomposition of the velocity field for the Madelung fluid into two distinct parts, which constitutes the nonrelativistic analogue of the Gordon decomposition for the Dirac current. Explicit calculations are presented for the velocity field in the particular cases of the hydrogen atom, of a spherical well potential, and of an electron in a uniform magnetic field. We find, furthermore, that the Zitterbewegung motion involves a velocity field which is solenoidal, and that the local angular velocity is parallel to the spin vector. In the presence of a nonuniform spin vector (Pauli case) we have, besides the component of the local velocity normal to the spin (present even in the Schrödinger theory), also a component which is parallel to the curl of the spin vector. (shrink)

Early modern empiricists thought that the nature of perceptual experience is given by citing the object presented to the mind in that experience. Hallucination and illusion suggest that this requires untenable mind-dependent objects. Current orthodoxy replaces the appeal to direct objects with the claim that perceptual experience is characterized instead by its representational content. This paper argues that the move to content is problematic, and reclaims the early modern empiricist insight as perfectly consistent, even in cases of illusion, with the (...) realist contention that these direct objects of perception are the persisting mind-independent physical objects we all know and love. (shrink)

Common everyday materials such as textiles, foodstuffs, soil or skin can have complex, mutable and varied appearances. Under typical viewing conditions, most observers can visually recognize materials effortlessly, and determine many of their properties without touching them. Visual material perception raises many fascinating questions for vision researchers, neuroscientists and philosophers, yet has received little attention compared to the perception of color or shape. Here we discuss some of the challenges that material perception raises and argue that further (...) philosophical thought should be directed to how we see materials. (shrink)

Highly malignant neuroepithelial tumors are known for their extensive tissue invasion. Investigating the relationship between their spatial behavior and temporal patterns by employing detrended fluctuation analysis (DFA), we report here that faster glioma cell motility is accompanied by both greater predictability of the cells' migration velocity and concomitantly, more directionality in the cells' migration paths. Implications of this finding for both experimental and clinical cancer research are discussed.

In Perception: First Form of Mind, Tyler Burge develops an understanding of the most primitive type of representational mind: perception. Focusing on its form, function, and underlying capacities, as indicated in the sciences of perception, Burge provides an account of the representational content and formal representational structure of perceptual states, and develops a formal semantics for them. The account is elaborated by an explanation of how the representational form is embedded in an iconic format. These structures are (...) then situated in current theoretical accounts of the processing of perceptual representations, with an emphasis on the formation of perceptual categorizations. An exploration of the relationship between perception and other primitive capacities-conation, attention, memory, anticipation, affect, learning, and imagining-clarifies the distinction between perceiving, with its associated capacities, and thinking, with its associated capacities. Drawing on a broad range of historical and contemporary research, rather than relying on introspection or ordinary talk about perception, Perception: First Form of Mind is a scientifically rigorous and agenda-setting work in the philosophy of perception and the philosophy of science. (shrink)

In the 1980s, a number of philosophers argued that perception is analog. In the ensuing years, these arguments were forcefully criticized, leaving the thesis in doubt. This paper draws on Weber’s Law, a well-entrenched finding from psychophysics, to advance a new argument that perception is analog. This new argument is an adaptation of an argument that cognitive scientists have leveraged in support of the contention that primitive numerical representations are analog. But the argument here is extended to the (...) representation of non-numerical magnitudes, such as luminance and distance, and shown to apply to perception and not just cognition. The relevant sense of ‘analog’ is also clarified, and two powerful objections are addressed. Finally, the question whether perception’s analog vehicles are located in conscious experience is explored and related to a well-known controversy within psychophysics. (shrink)

Zeno argued that since at any instant an arrow does not change its location, the arrow does not move at any time, and hence motion is impossible. I discuss the following three views that one could take in view of Zeno's argument:(i) the "at-at" theory, according to which there is no such thing as instantaneous velocity, while motion in the sense of the occupation of different locations at different times is possible,(ii) the "impetus" theory, according to which instantaneous velocities (...) do exist but these are only contingently and causally related to the temporal developments of positions,(iii) the "no instants" theory, according to which instants in time do not exist, and hence instantaneous velocities do not exist, while motion, in the sense of different areas occupied during different time intervals, is possible.I argue that, despite the fact that there have been interesting and relevant developments in mathematics and physics since the time of Zeno, each of these views still has serious drawbacks. (shrink)