The crux of the dispute on the mutual relations between attention and consciousness, and to which I have referred in this paper, lies in the question of what can be attended in spatial attention that obviously resonates with the phenomenological issue of intentionality. The discussion has been initiated by Christopher Mole. He began by calling for a commonsense psychology, according to which one is conscious of everything that one pays attention to, but one does not pay attention to all the (...) things that one is conscious of. In other words, attention is supposed to be a condition which is sufficient but not necessary for consciousness, i.e., consciousness is a necessary concomitant of attention, but attention is not a necessary concomitant of consciousness. Mole seeks to validate his stance with data from psychology labs. His view is, however, partly confronted, for instance, by Robert Kentridge, Lee de-Wit and Charles Heywood, who used their experimental research on a neurological condition called blindsight as evidence of a dissociation between attention and consciousness, i.e., that visual attention is not a sufficient precondition for visual awareness. In this meta-theoretical state of affairs, I would like to focus on the cognitive phenomenon most often referred to as Inhibition of Return and suggest that, following its micro dynamics from the perspective of micro-phenomenology, it can be used to actually showcase all of the options on both sides of the argument. One of my leading goals would be also to follow Mole’s attempt to link attention with agency but where we differ is that I wish to heuristically articulate the matter in terms of Merleau-Ponty’s phenomenological notion of embodied pre-reflective intentionality. (shrink)

The conventional approach to developing disease‐modifying treatments for neurodegenerative conditions has been to identify drivers of pathology and inhibit such pathways. Here we discuss the possibility that the efficacy of such approaches may be increasingly attenuated as disease progresses. This is based on experiments using mouse models of spinocerebellar ataxia type 1 and Huntington's disease (HD), where expression of the dominantly acting mutations could be switched off, as well as studies in human HD, which suggest that the primary genetic driver (...) of age‐of‐onset of disease is a much weaker determinant of disease progression in affected individuals. The idea that one may approach a point in the disease course where such rational therapeutic strategies based on targets which determine onset of disease have minimal efficacy, suggests that one needs to consider other approaches to therapies and clinical trial design, including initiation of therapies in presymptomatic individuals. (shrink)

Inhibition of return refers to the phenomenon that a person is slower to respond to targets at a previously cued location. The present study aimed to explore whether target-reward association is subject to IOR, using event-related potentials to explore the underlying neural mechanism. Each participant performed a localization task and a color discrimination task in an exogenous cueing paradigm, with the targets presented in colors previously associated with high- or low-reward probability. The results of both tasks revealed that (...) the N1, Nd, and P3 components exhibited differential amplitudes between cued and uncued trials under low reward, with the N1 and Nd amplitudes being enhanced for uncued trials compared to cued trials, and the P3 amplitude being enhanced for cued trials vs. uncued trials. Under high reward, however, no difference was found between the amplitudes on cued and uncued trials for any of the components. These findings demonstrate that targets that were previously associated with high reward can be resistant to IOR and the current results enrich the evidence for interactions between reward-association and attentional orientation in the cueing paradigm. (shrink)

In “History of Sexuality” Foucault argued that repression is the wrong model of power, understanding it in exclusively negative terms, as external to the body it constrains and inhibits. Power may also be positive, productive, and constitutive of the body and its possibilities. Thus, an adequate account of the relation between cultural forces and the body, Foucault argues, must challenge the “repressive hypothesis”. Contemporary feminist accounts of the body are structured by this same oppositional view of power Foucault assumed: to (...) call on Rosi Braidotti’s distinction, discursive forces are either negative or repressive or positive and empowering. In this paper I argue that this opposition forecloses several possibilities for thinking the morphogenetic role of culture. In particular, it assumes wrongly that repressive relations cannot be productive. (shrink)

We are highly tuned to each other's visual attention. Perceiving the eye or hand movements of another person can influence the timing of a saccade or the reach of our own. However, the explanation for such spatial orienting in interpersonal contexts remains disputed. Is it due to the social appearance of the cue—a hand or an eye—or due to its social relevance—a cue that is connected to another person with attentional and intentional states? We developed an interpersonal version of the (...) Posner spatial cueing paradigm. Participants saw a cue and detected a target at the same or a different location, while interacting with an unseen partner. Participants were led to believe that the cue was either connected to the gaze location of their partner or was generated randomly by a computer (Experiment 1), and that their partner had higher or lower social rank while engaged in the same or a different task (Experiment 2). We found that spatial cue‐target compatibility effects were greater when the cue related to a partner's gaze. This effect was amplified by the partner's social rank, but only when participants believed their partner was engaged in the same task. Taken together, this is strong evidence in support of the idea that spatial orienting is interpersonally attuned to the social relevance of the cue—whether the cue is connected to another person, who this person is, and what this person is doing—and does not exclusively rely on the social appearance of the cue. Visual attention is not only guided by the physical salience of one's environment but also by the mental representation of its social relevance. (shrink)

Mathematical learning difficulties (MLD) refer to a variety of deficits in math skills, typically pertaining to the domains of arithmetic and problem solving. The present study examined the time course of attentional orienting in MLD children with a spatial cueing task, by parametrically manipulating the cue-target onset asynchrony (CTOA). The results of Experiment 1 revealed that, in contrast to typical developing children, the inhibitory aftereffect of attentional orienting—frequently referred to as inhibition of return (IOR)—was not observed in the (...) MLD children, even at the longest CTOA tested (800 ms). However, robust early facilitation effects were observed in the MLD children, suggesting that they have difficulties in attentional disengagement rather than attentional engagement. In a second experiment, a secondary cue was introduced to the cueing task to encourage attentional disengagement and IOR effects were observed in the MLD children. Taken together, the present experiments indicate that MLD children are sluggish in disengaging spatial attention. (shrink)

This study evaluated the potential contribution of extrageniculate visual pathways to oculomotor orienting reflexes in hemianopic patients. It tested whether extrageniculate pathways mediate inhibition of return —a phenomenon characterized by slowed target detections at recently stimulated locations . Because hemianopic subjects cannot overtly respond to stimuli presented within their hemianopic field, we utilized a spatial cueing paradigm that capitalized on the fact that IOR operates in spatiotopic coordinates. Subjects moved their eyes so that a cue and a target (...) presented at the same spatial location were imaged successively onto blind and seeing portions of their retinas. One hemianopic patient showed a similar IOR effect from cues presented within both the seeing and the hemianopic fields. With a second hemianopic patient, only presentations of the cue to the subject's seeing field produced IOR. The explanation for this discrepancy is not evident. These observations highlight both the potential value and the pitfalls inherent in using “blindsight” as a window into human consciousness. (shrink)

Active participation closely associates with the sustainable operation of co-creation communities. Different from recent studies on the promotion of sustainable operation by identifying the internal and external motivations of user participation, this paper aims to analyze the mechanism regarding how different motivations affect the decision of user participation from group-level perspective. To better understand the mechanism, internal and external motivations are, respectively, captured by return-cost analysis and user interactive network. Afterwards, a network evolutionary game model was formulated to analyze (...) the dynamic strategy selection of all users. In addition, the stable equilibrium and evolutionary path of strategies are analyzed through computational experiments. Results indicate the following: Rewards have an influence on the promotion of active participation. However, with the continued growth of rewards, this promotion does not make sense sustainably. The promotional effect of information noise on the selection of active participation can be found when passive participation is the dominant strategy. However, the inhibitory effect can be seen in populations that mainly adopt active participation. The scale-free feature of user interactive network inhibits the selection of active participation when active participation is the dominant strategy in populations. Results found here is beneficial for managers to implement the specified policies and thus to achieve the sustainability of co-creation community. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)