Flickering light induces visual hallucinations in human observers. Despite a long history of the phenomenon, little is known about the dependence of flicker-induced subjective impressions on the flicker frequency. We investigate this question using Ganzfeld stimulation and an experimental paradigm combining a continuous frequency scan with a focus on re-occurring, whole percepts. On the single-subject level, we find a high degree of frequency stability of percepts. To generalize across subjects, we apply two rating systems, a set of (...) complex percept classes derived from subjects’ reports and an enumeration of elementary percept features, and determine distributions of occurrences over flicker frequency. We observe a stronger frequency specificity for complex percept classes than elementary percept features. Comparing the similarity relations among percept categories to those among frequency profiles, we observe that though percepts are preferentially induced by particular frequencies, the frequency does not unambiguously determine the experienced percept. (shrink)

Leafing a book quickly creates metamorphoses of its images and illustrations. Cinema as a medium is based on such visual discontinuity. Both Paolo Gioli, the Italian filmmaker, and Stan Brakhage in America, made very interesting flicker films with and about insects and butterflies : Farfallìo and Mothlight. Is the buttefly miming the filmic device? To what extent has a film to disguise its mechanism? What is the relation between animation and the animal? I intend to scrutinize the link (...) between flicker film and animality in regard of camouflage and mimicry. (shrink)

Our understanding of human visual perception generally rests on the assumption that conscious visual states represent the interaction of spatial structures in the environment and our nervous system. This assumption is questioned by circumstances where conscious visual states can be triggered by external stimulation which is not primarily spatially defined. Here, subjective colors and forms are evoked by flickering light while the precise nature of those experiences varies over flicker frequency and phase. What’s more, the occurrence (...) of one subjective experience appears to be associated with the occurrence of others. While these data indicate that conscious visual experience may be evoked directly by particular variations in the flow of spatially unstructured light over time, it must be assumed that the systems responsible are essentially temporal in character and capable of representing a variety of visual forms and colors, coded in different frequencies or at different phases of the same processing rhythm. (shrink)

High-frequency oscillations emerged as a neural code for both positive affect and fluent attentional processing from evolutionary simulations with artificial neural networks. Visual 50 Hz flicker, which entrains neural oscillations in the gamma band, has been shown to foster attentional switching, but can it also elicit positive affect? A three-faces display was preceded by a 50, 25, or 0 Hz flicker on the position of the odd-one-out . Participants decided on the gender or on the subjective valence (...) of this neutral target in an approach-avoidance task, which served as an implicit affective measure. Only the detection of 25 Hz flicker, but not of 50 Hz flicker, was above chance . Faces primed by invisible 50 Hz flicker were explicitly evaluated more positively than with 25 Hz or 0 Hz. This gamma flicker also facilitated approach reactions, and inhibited avoidance reactions relative to 25 Hz and 0 Hz flicker in Blocks 1 and 2. Attentional switching was, moreover, enhanced by the 50 Hz flicker. According to the Affect–Gamma hypothesis, also in biological neural networks, high-frequency gamma oscillations may code for positive affect. (shrink)

High-frequency oscillations emerged as a neural code for both positive affect and fluent attentional processing from evolutionary simulations with artificial neural networks. Visual 50 Hz flicker, which entrains neural oscillations in the gamma band, has been shown to foster attentional switching, but can it also elicit positive affect? A three-faces display was preceded by a 50, 25, or 0 Hz flicker on the position of the odd-one-out. Participants decided on the gender or on the subjective valence of (...) this neutral target in an approach-avoidance task, which served as an implicit affective measure. Only the detection of 25 Hz flicker, but not of 50 Hz flicker, was above chance. Faces primed by invisible 50 Hz flicker were explicitly evaluated more positively than with 25 Hz or 0 Hz. This gamma flicker also facilitated approach reactions, and inhibited avoidance reactions relative to 25 Hz and 0 Hz flicker in Blocks 1 and 2. Attentional switching was, moreover, enhanced by the 50 Hz flicker. According to the Affect–Gamma hypothesis, also in biological neural networks, high-frequency gamma oscillations may code for positive affect. (shrink)

ABSTRACTThreat detection is crucial to survival. Studies using unnatural visual scene settings have shown that humans and primates are able to identify snakes more quickl...

In a recent study, Becker and Elliott [Becker, C., & Elliott, M. A. . Flicker induced color and form: Interdependencies and relation to stimulation frequency and phase. Consciousness & Cognition, 15, 175–196] described the appearance of subjective experiences of color and form induced by stimulation with intermittent light. While there have been electroencephalographic studies of similar hallucinatory forms, brain activity accompanying the appearance of hallucinatory colors was never measured. Using a priming procedure where observers were required to indicate the (...) presence of one of eight target colors we compared electrophysiological correlates of hallucinatory color with brain states associated with other visual phenomena. Different target colors were accompanied by different patterns of EEG activation. However, in general, we found that the appearance of hallucinatory colors is preceded by a power decrease in the lower alpha band alongside an increase in gamma band frequencies. We argue that decreasing activity in the lower alpha band acts as a gating mechanism, inducing a switch in perception between different colors. The increasing gamma activation may correlate with the formation of a coherent conscious percept. (shrink)

Optic neuropathies are conditions that cause disease to the optic nerve, and can result in loss of visual acuity and/or visual field defects. An improved understanding of how these conditions affect the entire visual system is warranted, to better predict and/or restore the visual loss. In this article, we review visually-driven functional magnetic resonance imaging (fMRI) studies of optic neuropathies, including glaucoma and optic neuritis (ON); we also discuss traumatic optic neuropathy (TON). Optic neuropathy-related vision loss (...) results in fMRI deficit within the visual cortex, and is often strongly correlated with clinical severity measures. Using predominantly flickering checkerboard stimuli, glaucoma studies indicated retinotopic-specific cortical alteration with more prominent deficits in advanced than in early glaucoma. Some glaucoma studies indicate a reorganized visual cortex. ON studies have indicated that the impacted cortical areas are briefly hyperactive. For ON, brain deficits are greater in the acute stages of the disease, followed by (near) normalization of responses of the LGN, visual cortex, and the dorsal visual stream, but not the ventral extrastriate cortex. Visually-driven fMRI is sensitive, at least in ON, in discriminating patients from controls, as well as the affected eye from the fellow eye within patients. The use of a greater variety of stimuli beyond checkerboards (e.g., visual motion and object recognition) in recent ON studies is encouraging, and needs to continue to disentangle the results in terms of change over time. Finally, visually-driven fMRI has not yet been applied in TON, although preliminary efforts suggest it may be feasible. Future fMRI studies of optic neuropathies should consider using more complex visual stimuli, and inter-regional analysis methods including functional connectivity. We suggest that a more systematic longitudinal comparison of optic neuropathies with advanced fMRI would provide improved diagnostic and prognostic information. (shrink)

In a recent study, Becker and Elliott [Becker, C., & Elliott, M. A.. Flicker induced color and form: Interdependencies and relation to stimulation frequency and phase. Consciousness & Cognition, 15, 175–196] described the appearance of subjective experiences of color and form induced by stimulation with intermittent light. While there have been electroencephalographic studies of similar hallucinatory forms, brain activity accompanying the appearance of hallucinatory colors was never measured. Using a priming procedure where observers were required to indicate the presence (...) of one of eight target colors we compared electrophysiological correlates of hallucinatory color with brain states associated with other visual phenomena. Different target colors were accompanied by different patterns of EEG activation. However, in general, we found that the appearance of hallucinatory colors is preceded by a power decrease in the lower alpha band alongside an increase in gamma band frequencies. We argue that decreasing activity in the lower alpha band acts as a gating mechanism, inducing a switch in perception between different colors. The increasing gamma activation may correlate with the formation of a coherent conscious percept. (shrink)

Recent advances in mobile electroencephalogram (EEG) systems, featuring non-prep dry electrodes and wireless telemetry, have urged the needs of mobile brain-computer interfaces (BCIs) for applications in our daily life. Since the brain may behave differently while people are actively situated in ecologically-valid environments versus highly-controlled laboratory environments, it remains unclear how well the current laboratory-oriented BCI demonstrations can be translated into operational BCIs for users with naturalistic movements. Understanding inherent links between natural human behaviors and brain activities is the key (...) to ensuring the applicability and stability of mobile BCIs. This study aims to assess the quality of steady-state visual-evoked potentials (SSVEPs), which is one of promising channels for functioning BCI systems, recorded using a mobile EEG system under challenging recording conditions, e.g., walking. To systemati-cally explore the effects of walking locomotion on the SSVEPs, this study instructed subjects to stand or walk on a treadmill running at speeds of 1, 2, and 3 mile (s) per hour (MPH) while con-currently perceiving visual flickers (11 and 12 Hz). Empirical results of this study showed that the SSVEP amplitude tended to deteriorate when subjects switched from standing to walking. Such SSVEP suppression could be attributed to the walking locomotion, leading to distinctly deteriorated SSVEP detectability from standing (84.87±13.55%) to walking (1 MPH: 83.03±13.24%, 2 MPH: 79.47±13.53%, and 3 MPH: 75.26±17.89%). These findings not only demonstrated the applicability and limitations of SSVEPs recorded from freely behaving humans in realistic environments, but also provide useful methods and techniques for boosting the translation of the BCI technology from laboratory demonstrations to practical applications. (shrink)

To further develop three-dimensional (3D) applications, it is important to elucidate the negative effects of 3D applications on the human body and mind. Thus, this study investigated differences in the effects of visual fatigue on cognition and brain activity using visual and auditory tasks induced by watching a 1-h movie in two dimensions (2D) and 3D. Eighteen young men participated in this study. Two conditions were randomly performed for each participant on different days, namely, watching the 1-h movie (...) on television in 2D (control condition) and 3D (3D condition). Before and after watching the 1-h movie on television, critical flicker fusion frequency (CFF: an index of visual fatigue), and response accuracy and reaction time for the cognitive tasks were determined. Brain activity during the cognitive tasks was evaluated using a multi-channel near-infrared spectroscopy system. In contrast to the control condition, the decreased CFF, and the lengthened reaction time and the decreased activity around the right primary somatosensory cortex during Go/NoGo blocks in the visual task at post-viewing in the 3D condition were significant, with significant repeated measures correlations among them. Meanwhile, in the auditory task, the changes in cognitive performance and brain activity during the Go/NoGo blocks were not significant in the 3D condition. These results suggest that the failure or delay in the transmission of visual information to the primary somatosensory cortex due to visual fatigue induced by watching a 3D movie reduced the brain activity around the primary somatosensory cortex, resulting in poor cognitive performance for the visual task. This suggests that performing tasks that require visual information, such as running in the dark or driving a car, immediately after using a 3D application, may create unexpected risks in our lives. Thus, the findings of this study will help outlining precautions for the use of 3D applications. (shrink)

For a large proportion of our daily lives, spontaneously occurring thoughts tend to disengage our minds from goal-directed thinking. Previous studies showed that EEG features such as the P3 and alpha oscillations can predict mind-wandering to some extent, but only with accuracies of around 60%. A potential candidate for improving prediction accuracy is the Steady-State Visual Evoked Potential, which is used frequently in single-trial contexts such as brain-computer interfaces as a marker of the direction of attention. In this study, (...) we modified the sustained attention to response task that is usually employed to measure spontaneous thought to incorporate the SSVEP elicited by a 12.5-Hz flicker. We then examined whether the SSVEP could track and allow for the prediction of the stickiness and task-relatedness dimensions of spontaneous thought. Our results show that the SSVEP evoked by flickering words was able to distinguish between more and less sticky thinking but not between whether a participant was on- or off-task. This suggests that the SSVEP is able to track spontaneous thinking when it is strongly disengaged from the task but not off-task thought in general. Future research should determine the exact dimensions of spontaneous thought to which the SSVEP is most sensitive. (shrink)

Perception is a first-person internal sensation induced within the nervous system at the time of arrival of sensory stimuli from objects in the environment. Lack of access to the first-person properties has limited viewing perception as an emergent property and it is currently being studied using third-person observed findings from various levels. One feasible approach to understand its mechanism is to build a hypothesis for the specific conditions and required circuit features of the nodal points where the mechanistic operation of (...) perception take place for one type of sensation in one species and to verify it for the presence of comparable circuit properties for perceiving a different sensation in a different species. The present work explains visual perception in mammalian nervous system from a first-person frame of reference and provides explanations for the homogeneity of perception of visual stimuli above flicker fusion frequency, the perception of objects at locations different from their actual position, the smooth pursuit and saccadic eye movements, the perception of object borders, and perception of pressure phosphenes. Using results from temporal resolution studies and the known details of visual cortical circuitry, explanations are provided for (a) the perception of rapidly changing visual stimuli, (b) how the perception of objects occurs in the correct orientation even though, according to the third-person view, activity from the visual stimulus reaches the cortices in an inverted manner and (c) the functional significance of well-conserved columnar organization of the visual cortex. A comparable circuitry detected in a different nervous system in a remote species-the olfactory circuitry of the fruit fly Drosophila melanogaster-provides an opportunity to explore circuit functions using genetic manipulations, which, along with high-resolution microscopic techniques and lipid membrane interaction studies, will be able to verify the structure-function details of the presented mechanism of perception. (shrink)

Two types of the attentional network, alerting and orienting, help organisms respond to environmental events for survival in the temporal and spatial dimensions, respectively. Here, we applied chromatic flicker beyond the critical fusion frequency to address whether awareness was necessary for activation of the two attentional networks. We found that high-frequency chromatic flicker, despite its failure to reach awareness, produced the alerting and orienting effects, supporting the dissociation between attention and awareness. Furthermore, as the flicker frequency increased, (...) the orienting effect attenuated whereas the alerting effect remained unchanged. According to the systematic decline in temporal frequency sensitivity across the visual hierarchy, this finding suggests that unconscious alerting might be associated with activity in earlier visual areas than unconscious orienting. Since high-frequency flicker has been demonstrated to only activate early visual cortex, we suppose that neural activation in early visual areas might be sufficient to activate the two attentional networks. (shrink)

Based on increased user experience during stimulation, frequency-modulated steady-state visual evoked potentials have been suggested as an improved stimulation method for brain-computer interfaces. Adapting such a novel stimulation paradigm requires in-depth analyses of all different stimulation parameters and their influence on brain responses as well as the user experience during the stimulation. In the current manuscript, we assess the influence of different values for the modulation index, which determine the spectral distribution in the stimulation signal on FM-SSVEPs. We visually (...) stimulated 14 participants at different target frequencies with four different values for the modulation index. Our results reveal that changing the modulation index in a way that elevates the stimulation power in the targeted sideband leads to increased FM-SSVEP responses. There is, however, a tradeoff with user experience as increased modulation indices also lead to increased perceived flicker intensity as well as decreased stimulation comfort in our participants. Our results can guide the choice of parameters in future FM-SSVEP implementations. (shrink)

Looking out of the window of a speeding car, receiving photographs of Earth from outer space, watching the flickering images of the TV screen, scrolling through a text, zooming in on a location in Google Earth, or sending images via mobile ...

Visual attentional processing was examined in adult meditators and non-meditators on behavioral measures of change blindness, concentration, perspective-shifting, selective attention, and sustained inattentional blindness. Results showed that meditators noticed more changes in flickering scenes and noticed them more quickly, counted more accurately in a challenging concentration task, identified a greater number of alternative perspectives in multiple perspectives images, and showed less interference from invalid cues in a visual selective attention task, but did not differ on a measure of (...) sustained inattentional blindness. Together, results show that regular meditation is associated with more accurate, efficient, and flexible visual attentional processing across diverse tasks that have high face validity outside of the laboratory. Furthermore, effects were assessed in a context separate from actual meditation practice, suggesting that meditators’ better visual attention is not just immediate, but extends to contexts separate from meditation practice. (shrink)

Human vision briefly retains a trace of a stimulus after it disappears. This trace—iconic memory—is often believed to be a surrogate for the original stimulus, a representational structure that can be used as if the original stimulus were still present. To investigate its nature, a flicker-search paradigm was developed that relied upon a full scan (rather than partial report) of its contents. Results show that for visual search it can indeed act as a surrogate, with little cost for (...) alternating between visible and iconic representations. However, the duration over which it can be used depends on the type of task: some tasks can use iconic memory for at least 240 ms, others for only about 190 ms, while others for no more than about 120 ms. The existence of these different limits suggests that iconic memory may have multiple layers, each corresponding to a particular level of the visual hierarchy. In this view, the inability to use a layer of iconic memory may reflect an inability to maintain feedback connections to the corresponding representation. (shrink)

Large changes in a scene often become difficult to notice if made during an eye movement, image flicker, movie cut, or other such disturbance. It is argued here that this _change blindness_ can serve as a useful tool to explore various aspects of vision. This argument centers around the proposal that focused attention is needed for the explicit perception of change. Given this, the study of change perception can provide a useful way to determine the nature of visual (...) attention, and to cast new light on the way that it is?and is not?involved in visual perception. To illustrate the power of this approach, this paper surveys its use in exploring three different aspects of vision. The first concerns the general nature of _seeing_. To explain why change blindness can be easily induced in experiments but apparently not in everyday life, it is proposed that perception involves a _virtual representation_, where object representations do not accumulate, but are formed as needed. An architecture containing both attentional and nonattentional streams is proposed as a way to implement this scheme. The second aspect concerns the ability of observers to detect change even when they have no visual experience of it. This _sensing_ is found to take on at least two forms: detection without visual experience (but still with conscious awareness), and detection without any awareness at all. It is proposed that these are both due to the operation of a nonattentional visual stream. The final aspect considered is the nature of visual attention itself?the mechanisms involved when _scrutinizing_ items. Experiments using controlled stimuli show the existence of various limits on visual search for change. It is shown that these limits provide a powerful means to map out the attentional mechanisms involved. (shrink)

Observers inspected normal, high quality color displays of everyday visual scenes while their eye movements were recorded. A large display change occurred each time an eye blink occurred. Display changes could either involve "Central Interest" or "Marginal Interest" locations, as determined from descriptions obtained from independent judges in a prior pilot experiment. Visual salience, as determined by luminance, color, and position of the Central and Marginal interest changes were equalized. -/- The results obtained were very similar to those (...) obtained in prior experiments showing failure to detect changes occurring simultaneously with saccades, flicker, or “mudsplashes” in the visual scene: Many changes were very hard to detect, and Marginal Interest changes were harder to detect than Central Interest changes. -/- Analysis of eye movements showed, as expected, that the probability of detecting a change depended on the eye’s distance from the change location. However a surprising finding was that both for Central and Marginal Interest changes, evenwhen observers were directly fixating the change locations (within 1 degree),more than 40% of the time they still failed to see the changes. It seems that looking at something does not guarantee you “ see” it. (shrink)

Change-blindness occurs when large changes are missed under natural viewing conditions because they occur simultaneously with a brief visual disruption, perhaps caused by an eye movement, a flicker, a blink, or a camera cut in a film sequence. We have found that this can occur even when the disruption does not cover or obscure the changes. When a few small, high-contrast shapes are briefly spattered over a picture, like mudsplashes on a car windscreen, large changes can be made (...) simultaneously in the scene without being noticed. (shrink)

Change blindness illustrates a remarkable limitation in visual processing by demonstrating that substantial changes in a visual scene can go undetected. Because these changes can ultimately be detected using top–down driven search processes, many theories assign a central role to spatial attention in overcoming change blindness. Surprisingly, it has been reported that change blindness can occur during blink-contingent changes even when observers fixate the changing location [O’Regan, J. K., Deubel, H., Clark, J. J., & Rensink, R. A. . (...) Picture changes during blinks: Looking without seeing and seeing without looking. Visual Cognition, 7, 191–212]. However, eye blinks produce a transient disruption of vision that is independent of any associated changes in the retinal image. We determined whether these ‘attentive blank stares’ could occur in the absence of blink-mediated visual suppression. Using a flicker change-blindness paradigm we confirm that despite direct attentive fixations, obvious scene changes often remain undetected. We conclude that change detection involves object or feature based attentional mechanisms, which can be ‘misdirected’ despite the allocation of spatial attention to the position of the change. (shrink)

In motion-induced blindness , a target within rotating random dots is occasionally hidden from observers’ consciousness during observation. In the present study, a red ring-like cue was centered on a target and presented immediately after observers reported subjective disappearance of the target in MIB . The radius of the cue was systematically modulated. Observers quickly regained awareness of the disappeared object only after they were provided with a pinpoint cue of its location. We also found that a flickering cue at (...) 1 Hz hindered MIB when the radius of the cue was critically small . Furthermore, abrupt onset of a small square was enough to regain awareness of the target . Successful revival of the target with a small cue indicates that critical spatial distribution of visual attention determines what in the visual scene is included in visual awareness. (shrink)

The cinematic illusion of movement always requires a number of images. In this regard, the present article poses the question as to how far one can narrow this down, and still consider such a manifestation a meaningful cinematic experience that communicates a concise idea. Demonstrating the impact of a flicker or an electronically alternating sequence of visual impulses that arrest our attention, a thaumatrope or an animated GIF can already generate such significance. Within both the art world and (...) avant-garde cinema, artists have found ways to maximize the ­potential of such a minimalist approach to the moving image. The discussion of what the minimal duration for filmic experience of any cultural significance could be, is approached here from a media-archaeological perspective. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

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

The relationship between dementia and criminal behavior perplexes legal and health care systems. Dementia is a progressive clinical syndrome defined by impairment in at least two cognitive domains that interferes with one's activities of daily. Dementia symptoms have been associated with behaviors that violate social norms and constitute criminal actions. A failure to address a gap in policies that support appropriate management of individuals with dementia reflects a failure in our social obligation to care for those who are most vulnerable (...) amongst us. Categorical protections, informed by precedent models applied to juveniles and individuals with psychiatric illness, could help meet a social obligation to provide protections to individuals with dementia. We propose an approach that integrates affirmative defenses to mitigate criminal liability and sentencing restrictions to prevent cruel and unusual punishment. (shrink)

Goldschmidt’s Contradiction Set Free confronts us with a variety of topics, political and philosophical topoi, in which he traces contradictions of thought and action. This article focuses on Goldschmidt’s omission of the sphere of language as a site of contradiction in Contradiction Set Free. I argue that it is a deliberate choice on the part of Goldschmidt to not project a metalanguage of contradiction, but to probe philosophy’s involvement in the practice of language and thus present a critique of philosophy (...) through the contradictory impulse of language. First, I discuss the status Goldschmidt ascribes to the work of language for philosophy. From here, I engage in a discussion of the meaning of Ergriffenheit (awe) in Contradiction Set Free. Finally, I analyze two of Goldschmidt’s uses of parables and conclude with a reference to a parable by Franz Kafka. (shrink)

The American Journal of Bioethics, Volume 12, Issue 4, Page 29-31, April 2012.

This case analysis examines questions that arise when an ethically appropriate recommendation initially appears to be in conflict with the legally appropriate recommendation. The case involves a dying, incapacitated octogenarian who had friends who were willing to share her values, but not to make decisions on her behalf. These circumstances put the patient in the unique position of being legally considered a “patient alone,” but who was ethically like a patient with surrogates—distinctions that are crucial when making end-of-life decisions under (...) the New York Family Health Care Decisions Act. A strict interpretation of the law initially seemed to be in conflict with an ethically appropriate outcome. By gaining a deeper understanding of the patient from those who cared about her, however, and by considering a broader interpretation of the law, an outcome was reached that worked within the framework of the law and honored the patient’s reported values. (shrink)

In “On Avoiding Deep Dementia,” Norman Cantor astutely notes that, for some individuals, the concept of “protracted maintenance during progressive cognitive dysfunction and helplessness is an intolerably degrading prospect.” This cannot be argued with. Cantor's solution, however—that in the wake of a dementia diagnosis, patients should have the option to direct, in advance, instructions for voluntary stopping of eating and drinking should they develop a state of deep dementia—is more ethically challenging than it may first appear.Respect for autonomy is one (...) of the most fundamental principles of bioethics, and it requires that we allow patients with capacity to refuse life‐sustaining treatment, even when that treatment is something as seemingly innocuous as nutrition and hydration. If a capacitated person uses an advance directive to prospectively refuse artificial nutrition or hydration, then that treatment must be withheld if the person develops dementia and loses the ability or willingness to eat. Cantor is incorrect, however, in suggesting that an advance directive can require that nutrition and hydration be withheld from a patient with dementia who actively requests to eat or drink. Regardless of the language in an advance directive, caregivers cannot be compelled to abandon their duty to attend to the person's human dignity, nor can physicians be compelled to sedate a person with moderate or severe dementia because that person continues to be receptive to eating and drinking. (shrink)

In this issue of the Hastings Center Report, Daniel Brudney suggests that clinicians have an overly deferential attitude toward their patients’ surrogate decision-makers that is rooted in a wrongful investment of moral authority. He maintains that surrogate decision-makers have no moral right to decide for their loved ones and that their value in the decision-making process is limited to their knowledge of their loved one's preferences. If operationalized, Brudney's framework would ease the way for clinicians to remove a surrogate who (...) cannot provide information relevant to the patient's preferences and to resort to a paternalistic model of decision-making. Brudney fails to consider that the value of the surrogate does not flow from the surrogate, but rather from the patient's moral claim to have decisions made for him or her by a loved one. This claim recognizes that surrogates have intrinsic value through their relationship to and knowledge of the patient. Bioethics consultation services can assist clinical teams in engaging with the human crowd that surrounds each patient and navigating conflicting values and goals. This relational approach embraces the “mire and blood” that is endemic to relationships and clinical encounters. (shrink)

Guidance for Healthcare Ethics Committees edited by D. Micah Hester and Toby Schonfeld is a comprehensive guide for members of ethics committees. The book is designed to address the three essential missions of healthcare ethics committees : Consultation, Policy Writing, and Education. Although there is already significant literature devoted to ethics consultation, the policy writing and education functions of ethics committees get relatively little attention in the literature. It is valuable to have a source that combines all components of the (...) HEC duties. The book addresses a wide range of topics within each area, with the greatest focus on consultation.Guidance for Healthcare Ethics Committees is divided into four parts. The first is an introductory section that gives a broad overview of ethical theories, legal issues affecting ethics committees, and cultural and religious issues that often impact the work of ethics committees. The latter three sections each t .. (shrink)