When people make sense of situations, illustrations, instructions and problems they do more than just think with their heads. They gesture, talk, point, annotate, make notes and so on. What extra do they get from interacting with their environment in this way? To study this fundamental problem, I looked at how people project structure onto geometric drawings, visual proofs, and games like tic tac toe. Two experiments were run to learn more about projection. Projection is a special capacity, (...) similar to perception, but less tied to what is in the environment. Projection, unlike pure imagery, requires external structure to anchor it, but it adds ‘mental’ structure to the external scene much like an augmented reality system adds structure to an outside scene. A person projects when they look at a chessboard and can see where a knight may be moved. Because of the cognitive costs of sustaining and extending projection, humans make some of their projections real. They create structure externally. They move the piece, they talk, point, notate, represent. Much of our interactivity during sense making and problem solving involves a cycle of projecting then creating structure. (shrink)

When people make sense of situations, illustrations, instructions and problems they do more than just think with their heads. They gesture, talk, point, annotate, make notes and so on. What extra do they get from interacting with their environment in this way? To study this fundamental problem, I looked at how people project structure onto geometric drawings, visual proofs, and games like tic tac toe. Two experiments were run to learn more about projection. Projection is a special capacity, (...) similar to perception, but less tied to what is in the environment. Projection, unlike pure imagery, requires external structure to anchor it, but it adds ‘mental’ structure to the external scene much like an augmented reality system adds structure to an outside scene. A person projects when they look at a chessboard and can see where a knight may be moved. Because of the cognitive costs of sustaining and extending projection, humans make some of their projections real. They create structure externally. They move the piece, they talk, point, notate, represent. Much of our interactivity during sense making and problem solving involves a cycle of projecting then creating structure. (shrink)

Among the various experiments in ‘new governance’, the model of Responsible Research and Innovation is emerging in the European landscape as quite promising. Up to now, there have been two versions of RRI: a socio-empirical version which tends to underline the role of democratic processes aimed at identifying values on which governance needs to be anchored and a normative version which stresses the role of EU goals as ‘normative anchor points’ of both governance strategies and policy making. Both versions are (...) unsatisfactory. The first since it suggests movable anchorage which could clash with prefixed values, such as individual rights. The second since it does not safeguard fundamental rights in the process of balancing ‘anchor points’. This result is counterintuitive because it exposes governance to the risk of facing adverse court decisions in the defense of individual rights, thus losing its anticipative attitude. In order to avoid this outcome, the paper argues that it is only through better integration between the system of human rights and that of EU fundamental rights that the anticipative feature of RRI can be preserved. (shrink)

The development of action representation during adolescence was investigated using a visually guided pointing motor task to test motor imagery. Forty adolescents and 33 adults were instructed to both execute and imagine hand movements from a starting point to a target of varying size. Reaction time was measured for both Execution and Imagery conditions. There is typically a close association between time taken to execute and image actions in adults because action execution and action simulation rely on overlapping neural (...) circuitry. Further, representations of actions are governed by the same speed-accuracy trade-off as real actions, as expressed by Fitts’ Law. In the current study, performance on the VGPT in both adolescents and adults conformed to Fitts’ Law in E and I conditions. However, the strength of association between E and I significantly increased with age, reflecting a refinement in action representation between adolescence and adulthood. (shrink)

Language is more than a source of information for accessing higher-order conceptual knowledge. Indeed, language may determine how people perceive and interpret visual stimuli. Visual processing in linguistic contexts, for instance, mirrors language processing and happens incrementally, rather than through variously-oriented fixations over a particular scene. The consequences of this atypical visual processing are yet to be determined. Here, we investigated the integration of visual and linguistic input during a reasoning task. Participants listened to sentences containing (...) conjunctions or disjunctions and looked at visual scenes containing two pictures that either matched or mismatched the nouns. Degree of match between nouns and pictures and between their expected and actual spatial positions affected fixations as well as judgments. We conclude that language induces incremental processing of visual scenes, which in turn becomes susceptible to reasoning errors during the language-meaning verification process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, (...) announced on May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

Rhythm perception involves strong auditory-motor connections that can be enhanced with movement. However, it is unclear whether just seeing someone moving to a rhythm can enhance auditory-motor coupling, resulting in stronger entrainment. Rhythmic priming studies show that presenting regular rhythms before naturally spoken sentences can enhance grammaticality judgments compared to irregular rhythms or other baseline conditions. The current study investigated whether introducing a point-light figure moving in time with regular rhythms could enhance the rhythmic priming effect. Three experiments revealed (...) that the addition of a visual cue did not benefit rhythmic priming in comparison to auditory conditions with a static image. In Experiment 1, grammaticality judgments were poorer after audio-visual regular rhythms compared to auditory-only regular rhythms. In Experiments 2 and 3, there was no difference in grammaticality judgments after audio-visual regular rhythms compared to auditory-only irregular rhythms for either a bouncing point-light figure or a swaying point-light figure. Comparison of the observed performance with previous data suggested that the audio-visual component removed the regular prime benefit. These findings suggest that the visual cues used in this study do not enhance rhythmic priming and could hinder the effect by potentially creating a dual-task situation. In addition, individual differences in sensory-motor and social scales of music reward influenced the effect of the visual cue. Implications for future audio-visual experiments aiming to enhance beat processing, and the importance of individual differences will be discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, (...) announced on May 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

Shapes that are rendered invisible through backward masking are still able to influence motor responses: this is called masked priming. Yet it is unknown whether this influence is on the control of ongoing action, or whether it merely influences the initiation of an already-programmed action. We modified a masked priming procedure such that the critical prime-mask sequence was displayed during the execution of an already-initiated goal-directed pointing movement. Psychophysical tests of prime visibility indicated that the identity of the prime shapes (...) were not accessible to participants for conscious report. Yet detailed kinematic analysis of the finger in motion revealed that masked primes had an influence on the pointing trajectories within 277 ms of their appearance, 56 ms earlier than the trajectory deviations observed in response to the visible masks. These results indicate that subliminal shapes can indeed influence the control of ongoing motor activity. (shrink)

We question the usefulness of Pylyshyn's dichotomy between cognitively penetrable and cognitively impenetrable mechanisms as the basis for his distinction between cognition and early vision. This dichotomy is comparable to others that have been proposed in psychology prompting disputes that by their very nature could not be resolved. This fate is inevitable for Pylyshyn's thesis because of its reliance on internal representations and their interpretation. What is more fruitful in relation to this issue is not a difficult dichotomy, but a (...) different look at perception such as proposed by Gibson (1979). (shrink)

ABSTRACTCritical realism's insight into depth ontology creates the possibility for re-imagining sociology as a science of the social world. However, critical realism has yet to gain a strong foothold in sociological analysis. Challenging the available criticism of critical realism, I argue that its main flaw is its inability to draw an appropriate epistemological strategy from its insights into depth ontology. I propose that this limitation can be overcome when we anchor the depth ontology of critical realism to the two-step epistemological (...) strategies of Bourdieu's field theory: first, objectifying common sense to develop a scientific model of social structure; and second, objectifying the scientific point of view to re-introduce common sense in the scientific model of social structure. I argue that by anchoring the ontological insights of critical realism to the epistemological strategies of field theory, we can create the long-sought core around which sociology can progress as a science of the social world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Anchors of Democracy: A New Division of Powers, Representation, Sense of Limits by Rocco PezzimentiAdam CarringtonPEZZIMENTI, Rocco. The Anchors of Democracy: A New Division of Powers, Representation, Sense of Limits. Herefordshire, U.K.: Gracewing, 2021. 207 pp. Paper, $22.00Rocco Pezzimenti's The Anchors of Democracy: A New Division of Powers, Representation, Sense of Limits is an ambitious book. A professor at LUMSA, Rome, he seeks to consider anew the (...) nature, structure, and purposes of democracy as well as the society in which this form of government best operates. He sees this task as needed because, he argues, contemporary democracies face new challenges that threaten their legitimacy and their capacity to fulfill their just and needed purposes. He notes that democracies are not "infallible," either morally or in their ability to maintain themselves, and thus need conscious understanding and prudent maintenance.The subtitle establishes the three main themes by which he diagnoses and addresses democracy's trials. Pezzimenti orders his argument most through the lens of limits. While present in all spheres and regimes, popular government in particular partakes of limitation, since "mutual limitation... is the basis of our democracies." Limits for Pezzimenti stem from distinct elements of a society competing for finite power ordered toward action. Many of our political and social problems, both past and present, stem from denying limitations or misordering their interactions. The presentism that tempts democracy must be tempered by the limits the past places on it. Institutions are one helpful means for this interaction, which helps guard against a "utopianism which wants to solve everything immediately, deceiving itself that it can perform miracles." Law itself involves limits, placing boundaries on the action of private persons and public entities. So does pluralism and "polyarchy," whereby we recognize the limits particular persons and communities place on politics' universalism as well as how politics restrains these other elements from descending into intolerant, selfish particularity. Important to this point is Pezzimenti's discussion of sovereignty, which must not be reduced to a mere question of who rules and where but to the question of rightly pursuing a common good respectful of individual rights. True freedom inheres in the proper cohering of these elements.Pezzimenti turns to the distribution of powers within a community as part of the discussion of limits. He argues that "the traditional tripartition, theorized by Polybius and on to Montesquieu, today appears certainly insufficient." To define all political power as legislative, executive, and judicial, then to distribute them among competing institutions, does not fully account for the contemporary political landscape. Moreover, those [End Page 361] "classic" powers themselves need to be rethought to meet today's concerns. Legislative power must account for claims that its representative systems either are oligarchic in practice or lead to crass populism, and that they fail to account for group identities as opposed to class ones. The executive must evolve in pursuit of a better "efficiency and efficacy"—including speed of response to problems—that requires a better relationship with the modern bureaucracy, which he describes as "the other face of the executive." The judicial power must focus on a renewed impartiality, especially in relation to the additional powers Pezzimenti thinks need to be named and then tamed. The new powers that he says we must recognize include the press, mass media, technology, and more. Here, Pezzimenti categorizes as powers the functions of government (making, enforcing, and adjudication of the law) alongside avenues or means for exercising political influence, if not outright control. These other forces have distorted democracy's needed limits partly because law and custom have not adequately accounted for their evolving role in power.These issues lead to the last challenge, that of representation. The problem of representation threatens democracy's legitimacy, since this form of government is grounded more than any other in the idea that "power must be the expression of the community." Yet even here the issue of limits orders the discussion. The unaccounted-for new powers described above remove too many limitations either on crass populism or encroaching rule of elites. The former can abuse individual rights, which he says "are not negotiable," based on oppressive whims... (shrink)

Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, (...) and communicative act that may sometimes be understood as a visually laid out argument. As a mixture of visual, auditory, and verbal stimuli, film demands active and complex interpretation and (re)construction. Our suggestion is to focus on five different but interrelated elements. The reconstruction and evaluation of the visual argument will be based on those elements, and the whole process will be one of visual argumentation. (shrink)

This paper probes the foundations and limits of visual representation in the sciences through a close reading of the diagrams that accompanied definitions of the geometric point in the first century of printed editions of Euclid’s Elements. I begin with the modal form for such diagrams of Euclid’s “small and unsensible shape,” showing how it incorporates a broad spectrum of conventions and practices related to the point’s philosophical and practical roles in the surrounding Euclidean geometry. I then (...) explore the form’s several variations in order to consider the role of “mere representation” in geometric exegesis, and conclude by characterizing the curious relationship between things and their images and that relationship’s implications for understanding scientific knowledge and practice. (shrink)

A common objection to representationalism is that a representationalist view of phenomenal character cannot accommodate the effects that shifts in covert attention have on visual phenomenology: covert attention can make items more visually prominent than they would otherwise be without altering the content of visual experience. Recent empirical work on attention casts doubt on previous attempts to advance this type of objection to representationalism and it also points the way to an alternative development of the objection.

In this article we explore the relationship between semiotic analysis of images and quantitative analysis of vast image corpora, in particular the work produced by Lev Manovich and the Cultural Analytics Lab, called “Media Visualization.” Media Visualization has been chosen as corpus because of its metavisual operation (images are visualized and analyzed by images) and its innovating way of conceiving analysis: by visual instruments. In this paper semiotics is used as an approach to Media Visualization and taken as an (...) object of study as well, especially visual semiotics. In this sense, a comparison between visual semiotics (close reading of small corpora) and quantitative analyses of images (distant reading of vast collections) are conducted from a semiotic point of view. Post-Greimassian semiotics guides this study with respect to the issue of the image-within-an-image and metavisual visualization; Peircean semiotics is employed to explain and develop the notion of diagram. (shrink)

In one sense of the term, empathy refers to the act of sharing in another person’s experience of and perspective on the world. According to simulation accounts of empathy, we achieve this by replicating the other’s mind in our imagination. We explore a form of empathy, empathic perspective-taking, that is not adequately captured by existing simulationist approaches. We begin by pointing out that we often achieve empathy (or share in another’s perspective) by listening to the other person. This form of (...) empathy, which we call “empathy through listening”, involves four distinctive features: (i) the actual sharing of a perspective; (ii) dynamical unfolding; (iii) collaboration; and (iv) mutual transformation. Next, we consider the individual basis of empathy through listening. We argue that it requires an attitude of “receptivity” and elaborate on this elusive concept in terms of “epistemic respect”. Finally, we consider whether this form of empathy can be adequately explained within the simulationist framework. We argue that simulationist approaches must be complemented by a receptivity-based conception of empathy—that is, a conception that envisions empathy not so much as an individual imaginative enterprise, but rather as a collaborative practice of engaging with the other while paying her due epistemic respect. (shrink)

Recent work in "embodied, embedded" cognitive science links mental contents to large-scale distributed effects: dynamic patterns implicating elements of (what are traditionally seen as) sensing, reasoning and acting. Central to this approach is an idea of biological cognition as profoundly "action-oriented" - geared not to the creation of rich, passive inner models of the world, but to the cheap and efficient production of real-world action in real-world context. A case in point is Hurley's (1998) account of the profound role (...) of motor output in fixing the contents of conscious visual awareness - an account that also emphasizes distributed vehicles and long-range dynamical loops. Such stories can seem dramatically opposed to accounts, such as Milner and Goodale (1995), that stress relatively local mechanisms and that posit firm divisions between processes of visual awareness and of visuomotor action. But such accounts, I argue, can be deeply complimentary and together illustrate an important lesson. The lesson is that cognition may be embodied and action-oriented in two distinct - but complimentary - ways. There is a way of being embodied and action-oriented that implies being closely geared to the fine-grained control of low level effectors (hands, arms, legs and so on). And there is a way of being embodied and action-oriented that implies being closely geared to gross motor intentions, current goals, and schematic motor plans. Human cognition, I suggest, is embodied and action-oriented in both these ways. But the neural systems involved, and the size and scope of the key dynamic loops, may be quite different in each case. (shrink)

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, (...) there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study. (shrink)

When describing motion along both the horizontal and vertical axes, languages from different families express the elements encoding verticality before those coding for horizontality (e.g., going up right instead of right up). In light of the motor grounding of language, the present study investigated whether the prevalence of verticality in Path expression also governs the trajectory of arm biological movements. Using a 3D virtual-reality setting, we tracked the kinematics of hand pointing movements in five spatial directions, two of which implied (...) the vertical and horizontal vectors equally (i.e., up right +45° and bottom right −45°). Movement onset could be prompted by visual or auditory verbal cues, the latter being canonical in French (“en haut à droite”/up right) or not (“à droite en haut”/right up). In two experiments, analyses of the index finger kinematics revealed a significant effect of gravity, with earlier acceleration, velocity, and deceleration peaks for upward (+45°) than downward (−45°) movements, irrespective of the instructions. Remarkably, confirming the linguistic observations, we found that vertical kinematic parameters occurred earlier than horizontal ones for upward movements, both for visual and congruent verbal cues. Non-canonical verbal instructions significantly affected this temporal dynamic: for upward movements, the horizontal and vertical components temporally aligned, while they reversed for downward movements where the kinematics of the vertical axis was delayed with respect to that of the horizontal one. This temporal dynamic is so deeply anchored that non-canonical verbal instructions allowed for horizontality to precede verticality only for movements that do not fight against gravity. Altogether, our findings provide new insights into the embodiment of language by revealing that linguistic path may reflect the organization of biological movements, giving priority to the vertical axis. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far (...) too influential on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

Molyneux’s question famously asks about whether a newly sighted subject might immediately recognize, by sight alone, shapes that were already familiar to her from a tactile point of view. This paper addresses three crucial points concerning this puzzle. First, the presence of two different questions: the classic one concerning visual recognition and another one concerning vision-for-action. Second, the explicit distinction, reported in the literature, between ocular and cortical blindness. Third, the importance of making reference to our best neuroscientific (...) account on vision, ‘the two visual systems model’, in order to better address Molyneux’s problem. Then, by offering a new, deeper analysis of the relation between, and, this paper suggests that the subjects of Molyneux’s two different questions show the same visual impairment as brain-damaged subjects with different lesions of the visual cortex. In particular, the subject of the first question shows the same impairment in visual recognition as a visual agnosic subject, while the subject of the second question shows the same visual impairment in visuomotor processing as an optic ataxic subject. These impairments still hold even if ocular processing is restored. Therefore, I suggest the following. For the first classic question, the required experimental setting cannot be properly reached. By contrast, concerning the second question, based on the interpretation we select, either the answer is negative, or, as with the first question, the experimental setting cannot be properly reached. This proposal constitutes, with the other approaches offered in the literature, a further attempt to tackle the enormous complexity of Molyneux’s puzzle. (shrink)

Specific extracellular interaction between glycophosphatidylinositol (GPI)‐anchored proteins and adhesion G protein‐coupled receptors (aGPCRs) plays an important role in unique biological functions. GPI‐anchored proteins are derived from a novel post‐translational modification of single‐span membrane molecules, while aGPCRs are bona fide seven‐span transmembrane proteins with a long extracellular domain. Although various members of the two structurally‐distinct protein families are known to be involved in a wide range of biological processes, many remain as orphans. Interestingly, accumulating evidence has pointed to a complex interaction (...) and functional synergy between these two protein families. I discuss herein current understanding of specific functional partnerships between GPI‐anchored proteins and aGPCRs. (shrink)

One of the conundrums of Wittgenstein’s so-called ‘1914–1916 Notebooks’ concerns the role played by the visual instances of logical analysis. As a matter of fact, in discussing in that work the requirement that the logical analysis of meaningful sentences be complete, Wittgenstein often takes as examples statements about the colored parts of the subject's visual image (Gesichtsbild). In view of this, it might be thought that the requirement is not laid down in the Notebooks on logical grounds, but (...) somehow on psychological or psychophysical ones. In this paper I argue this is not so and that the requirement is exemplified rather than justified by the analysis of statements about the products of the subject’s visual imagination. I also argue that, on Wittgenstein’s syntactic notion of a complete logical analysis, our unanalyzed statements embody as they are the requirement that their sense be fully determinate; which is just what is meant by the idea that the analysis must be complete. (shrink)

This study aimed to explore the influence of the visuospatial active working memory sub-components on early math skills in young children, followed longitudinally along the first two years of primary school. We administered tests investigating visual active working memory (jigsaw puzzle), spatial active working memory (backward Corsi), and math tasks to 43 children at the beginning of first grade (T1), at the end of first grade (T2), and at the end of second grade (T3). Math tasks were select according (...) to the children’s age and their levels of formal education: the “Battery for the evaluation of numerical intelligence from 4 to 6 years of age” (BIN 4–6) at T1 to test early numerical competence and the “Test for the evaluation of calculating and problem-solving abilities” (AC-MT 6–11) to test math skills at T2 and T3. Three regression models, in which the predictors were identified through a forward selection based on the use of the Bayesian information criterion (BIC) index, were performed to study the relationship between visual and spatial working memory and math ability at the three points in time. The results show that spatial working memory influences early numerical performance at T1, while early numerical performance is the unique predic-tor of math performance at T2. At the end of the second grade, the regression model reveals a relationship between math performance and both visual and spatial working memory and the attenuation of the importance of domain-specific predictors. The study depicts the dif-ferent implications of visual and spatial working memory predictors over the children’s de-velopment periods and brings additional evidence to the debate on the relationship between visuospatial working memory and math ability in young children. (shrink)

Our visual experience seems to suggest that no continuous curve can cover every point of the unit square, yet in the late 19th century Giuseppe Peano proved that such a curve exists. Examples like this, particularly in analysis received much attention in the 19th century. They helped to instigate what Hans Hahn called a ‘crisis of intuition’, wherein visual reasoning in mathematics came to be thought to be epistemically problematic. Hahn described this ‘crisis’ as follows : " (...) Mathematicians had for a long time made use of supposedly geometric evidence as a means of proof in much too naive and much too uncritical a way, till the unclarities and mistakes that arose as a result forced a turnabout. Geometrical intuition was now declared to be inadmissible as a means of proof … "Avoiding geometrical evidence, Hahn continued, mathematicians aware of this crisis pursued what he called ‘logicization’, ‘when the discipline requires nothing but purely logical fundamental concepts and propositions for its development’. On this view, an epistemically ideal mathematics would minimize, or avoid altogether, appeals …. (shrink)

Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used (...) cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the (...) ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

As part of the rationality debate, we examine the impact of deliberative and intuitive thinking styles on diversity preference behavior. A sample of 230 students completed the Rational Experiential Inventory and the Diversity Preference Questionnaire, an original measure of diversification behavior in different real-life situations. In cases where no normative solution was available, we found a clear preference for diversity-seeking in the gain domain and diversity-aversion in the loss domain, regardless of cognitive thinking style. However, in cases where one alternative (...) normatively dominated the other, participants high in deliberative thinking style were more calibrated to normative behavior, regardless of whether their intuitive tendency preference and the normative solution were contradictory or pointed in the same direction. Our findings support a model in which deliberative but not intuitive thinking style is the crucial predictor of rational behavior, since it enables people to better adjust their intuitive preference anchor when normative considerations require doing so. (shrink)

I examined the proposition that there are psychological limits on what scientific problems can be solved, and that these limits may be based on a failure to be able to produce imagable, observation-based models for any possible solution, a position suggested by philosopher Colin McGinn in an argument attempting to prove that the mind-body problem is unsolvable. I examined another likely candidate for an unsolvable problem -- the ultimate origin of the universe (i.e., what might have preceded the Big Bang (...) or any other starting point; why there should be something rather than nothing) -- by exploring the reasoning of physicists about this problem and measuring visual imagery frequency and vividness, with the expectation that those who most believed the problem unsolvable would be more frequent/vivid imagers and therefore more affected by the apparent impossibility of producing an imagable solution. Eight physicists were interviewed and imagery frequency and vividness measurements performed using Cohen & Saslona's IDQ-IHS and Marks's VVIQ, respectively. All subjects considered the problem unsolvable within today's physics and all but one thought the problem still meaningful, though none were optimistic about a solution. The one subject who dismissed the problem had the lowest imagery frequency score, and there was also a significant rank order correlation (r = 0.83, p < .02) between degree of belief in problem unsolvability (extended to include viewing the problem as meaningful and not already solved) and a composite imagery frequency/vividness score, though the sample was too small to control for some possible confounding factors. (shrink)

Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The mass (...) migration and the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

Numerosity perception is a key ability for human and non-human species, probably mediated by dedicated brain mechanisms. Electrophysiological studies revealed the existence of both early and mid-latency components of the Electrophysiological (EEG) signal sensitive to numerosity changes. However, it is still unknown whether these components respond to physical or perceived variation in numerical attributes. We here tackled this point by recording electrophysiological signal while participants performed a numerosity adaptation task, a robust psychophysical method yielding changes in perceived numerosity judgments (...) despite physical numerosity invariance. Behavioral measures confirmed that the test stimulus was consistently underestimated when presented after a high numerous adaptor while perceived as veridical when presented after a neutral adaptor. Congruently, EEG results revealed a potential at around 200 ms (P2p) which was reduced when the test stimulus was presented after the high numerous adaptor. This result was much prominent over the left posterior cluster of electrodes and correlated significantly with the amount of adaptation. No earlier modulations were retrievable when changes in numerosity were illusory while both early and mid-latency modulations occurred for physical changes. Taken together, our results reveal that mid-latency P2p mainly reflects perceived changes in numerical attributes, while earlier components are likely to be bounded to the physical characteristics of the stimuli. These results suggest that short-term plastic mechanisms induced by numerosity adaptation may involve a relatively late processing stage of the visual hierarchy likely engaging cortical areas beyond the primary visual cortex. Furthermore, these results also indicate mid-latency electrophysiological correlates as a signature of the internal representation of numerical information. (shrink)

Our visual experience seems to suggest that no continuous curve can cover every point of the unit square, yet in the late 19th century Giuseppe Peano proved that such a curve exists. Examples like this, particularly in analysis received much attention in the 19th century. They helped to instigate what Hans Hahn called a ‘crisis of intuition’, wherein visual reasoning in mathematics came to be thought to be epistemically problematic. Hahn described this ‘crisis’ as follows : " (...) Mathematicians had for a long time made use of supposedly geometric evidence as a means of proof in much too naive and much too uncritical a way, till the unclarities and mistakes that arose as a result forced a turnabout. Geometrical intuition was now declared to be inadmissible as a means of proof … "Avoiding geometrical evidence, Hahn continued, mathematicians aware of this crisis pursued what he called ‘logicization’, ‘when the discipline requires nothing but purely logical fundamental concepts and propositions for its development’. On this view, an epistemically ideal mathematics would minimize, or avoid altogether, appeals …. (shrink)

The aim of the present study is to evaluate Sonja Foss’s Rhetorical Schema for the Evaluation of Visual Imagery as well as reflect upon several points for further consideration; and finally suggest a renewed triadic approach as a method for analyzing art-relevant visual imagery. The triadic approach to be discussed assumes three correlative layers: the intellectual knowledge, function of the artistic content as the visual representational component, and aesthetics as modality. This study will include the analysis of (...) a print advertisement that used an artwork as its content of visual rhetoric, and this will inform further discussions on the proposed approach. The contribution of this renewed triadic approached to the field of visual rhetoric has the advantage of expanding and possibly improving rhetorical analysis methods of visual imagery. (shrink)

We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.

Child visual discourse: The use of language, gestures, and vocalizations by deaf preschoolers1 This exploratory study examined the linguistic activity and conversational skills of deaf preschoolers by observing child-child dyads in free-play situations. Deaf child of deaf parents - deaf child of deaf parents pairs were compared with deaf child of hearing parents - deaf child of hearing parents pairs. Children from the two groups were videotaped during dyadic peer interactions in a naturalistic play situation. The findings indicated that (...) deaf children were able to engage in successful communicative interaction. However, statistically significant differences were found between the two groups of deaf preschoolers with regard to some categories of communicative behaviors from the point of view of sign and spoken languages. For example, DCHP were found to be less actively than DCDP through using speech. The results of this study suggest that intervention efforts should be focused on improving the language learning environment by facilitating signing by the parents and increasing their skills in visual-gestural strategies. (shrink)

This interview with media anthropologist, Rebecca L. Stein, conducted by Noa Levin and Andrew Fisher in Spring 2023, takes her recent book Screenshots: State Violence on Camera in Israel and Palestine (2021) as its starting point in order to explore issues of state violence and the militarization of social media in Israel/Palestine. This book marks the culmination of a decade-long research project into the camera dreams introduced by digital imaging technologies and the fraught histories of their disillusionment. Stein discusses (...) the way her research has critically conceptualized the recent history of hopes invested in the digital image in this geopolitical context, by the occupier as much as the occupied, and charts the failures and mistakes, obstructions and appropriations that characterize the conflicted visual cultures of Israel/Palestine. (shrink)

Understanding what is distinctive about the role of models in science requires characterizing broad patterns in how these models evolve in the face of experimental results. That is, we must examine not just model statics—how the model relates to theory, or represents the world, at some point in time—but also model dynamics—how the model both generates new experimental results and is modified in response to them. Visual representations of structure play a central role in the theoretical reasoning of (...) organic chemists. Not surprisingly, these representations have changed in important ways–in response to experimental and theoretical developments– throughout the history of organic chemistry. In many cases it is appropriate to understand the visual representations used by organic chemists as models. The evolution of the structural representations of organic chemists therefore provides a clear example of the dynamics of scientific modeling. In this paper I use a conception of scientific modeling drawn from the work of Mary Hesse to examine how the concept of a molecular conformation was incorporated into the visual representations of structure used by organic chemists. (shrink)

This paper is part of an ongoing project devoted to the investigation of the psychotropic brew Ayahuasca from a cognitive-psychological perspective. This perspective contrasts with those of practically all investigations of Ayahuasca which pertain either to the natural sciences-notably botany, pharmacology, brain science and clinical medicine-or to anthropology. Here, I discuss the visualizations induced by Ayahuasca from a structural, as opposed to contentual, point of view. A typology of the structural forms in which visualizations may appear is drawn. Also (...) examined are the various types of interaction a person can have with his/her visions and aspects pertaining to the semantics of visions and their narrative structure. The distinctions drawn are readily applicable to hallucinatory and visionary experiences induced by other agents and in other contexts. Thus, the present typology may be regarded as presenting the foundations for the cognitive-psychological study of such experiences at large. (shrink)