The evidence of blindsight is occasionally used to argue that we can see things, and thus have perceptual belief, without the distinctive visual awareness accompanying normal sight; thereby displacing phenomenality as a component of the concept of vision. I maintain that arguments to this end typically rely on misconceptions about blindsight and almost always ignore associated visual (or visuomotor) pathologies relevant to the lessons of such cases. More specifically, I conclude, first, that the phenomena very likely do not result (...) from dissociations within a single system, but from the interaction of evolutionarily distinct, if interacting, systems; second, that a closer study of spared motor abilities indicates that verbal responses of patients result not from degraded vision but from proprioception; and, finally, above chance verbal responses, being forced guesses, are not tentative beliefs and cannot become beliefs just by training patients to have more confidence in their responses. (shrink)

The analysis of video-recorded interaction consists of various professionalized ways of seeing participant behavior through multimodal, co-operative, or intercorporeal lenses. While these perspectives are often adopted simultaneously, each creates a different view of the human body and interaction. Moreover, microanalysis is often produced through local practices of sense-making that involve the researchers’ bodies. It has not been fully elaborated by previous research how adopting these different ways of seeing human behavior influences both what is seen from a video and how (...) it is seen, as well as the way the interpretation of the data ultimately unfolds in the interaction between researchers. In this article, we provide a theoretical-methodological discussion of the microanalytic research process. We explore how it differs from “seeing” affect in interaction either as a co-operative and multimodal action or as an intercorporeal experience. First, we introduce the multimodal conversation analytic, co-operative, and intercorporeal approaches to microanalysis. Second, we apply and compare these practices to a video-recorded interaction of a romantic couple. Furthermore, we examine a video-recorded episode of us, the researchers, reflecting on our analytic observations about this interaction. We suggest that adopting a multimodal and co-operative perspective constructs affect as co-produced and displayed through observable action, while an intercorporeal perspective produces affect as an embodied and experienced phenomenon. While the former enables locating affect in a specific moment and identifiable body parts, the latter facilitates recognizing the experienced side of affect. These different modes of professional vision complement one another in capturing affect in interaction while being fundamentally used in local interactions between the researchers. (shrink)

The article analyzes an interactional form of tunnel vision or cognitive bias in a series of mundane police–suspect interactions. The data come from a murder case in which the suspect, later convicted and then released from prison with the help of the Wisconsin Innocence Project, frequently calls police detectives to inquire about his confiscated van. As he is operating in a context in which accusations are rarely made explicit, we highlight the suspect’s use of a complaint-denial device to tacitly (...) claim innocence. The police respond by focusing on the complaint rather than the denial part of the device. The use of the complaint-denial device is compared to more formal inquiries in which accusations are overt. We discuss the implications of a sociological understanding of cognitive bias – how it may operate in practices of talk and social interaction during informal encounters – for other criminal justice settings. (shrink)

Basic processes of perception should be cognitively impenetrable so that they are not prey to momentary changes of belief. That said, how does low level vision interact with knowledge to allow recognition? Much more needs to be known about the products of low level vision than that they represent the geometric layout of the world.

The influence of imagery on perception depends on the content of the mental image. Sixty-three students responded to the location of the 2 hands of a clock while visualizing the correct or an incorrect clock. Reaction time was shorter with valid cueing. Could this have resulted from visual acquisition strategies such as planning visual saccades or shifting covert attention? No. in this study, a crucial control condition made participants look at rather than visualize the cue. Acquisition strategies should have affected (...) equally both types of cueing, but we observed that the effect of the visual cue was smaller and limited to a particular subcase in which one expects visual acquisition strategies. Thus, what matters is the similarity of the content of the mental image with the visual scene. In addition, an interaction involving the hand used for responding supports the notion that composite imagery is lateralized. (shrink)

In visual information processing, two kinds of vision are distinguished: vision-for-perception related to the conscious identifi cation of objects, and vision-for-action that deals with visual control of movements. Neuroscience suggests that these two functions are performed by two separate brain neural systems - the ventral and dorsal pathways. Two experiments using behavioural measures were conducted with the objective of exploring any potential interaction between these two functions of vision. The aim was to combine in one task (...) methods allowing for the simultaneous capture of both perceptual global processing and affordance extraction and to check whether they infi uence each other. This aim was achieved by employing the paradigms of Navon and Tucker and Ellis. A compound fi gure was created made up of objects with handles that might or might not have orientation congruent between levels. The results revealed that while the affordance effect occurred every time, the Navon effect appeared only when subjects focused their attention on object elements responsible for inconsistence within compound fi gure. Most importantly, even when these two effects occurred at once, they had no effect on each other. Results from the study failed to confi rm the hypothesis about interaction and gives support to the view that vision-for-perception and vision-for-action tend to act as separate systems. (shrink)

In this article I examine the perceptual metaphor at the heart of perspectivism, discussing three elements: partiality, interestedness, and interaction. I argue that perspectivists should drop the visual metaphor in favor of a haptic one. Because the sense of touch requires contact and purposeful exploration on the part of the perceiver, it is obvious that with touch one apprehends an extradermal reality in virtue of and not in spite of its interactive and interested nature. By analogy, perspectivists should investigate (...) the thesis that scientific representations inform us about the natural world in virtue of their interactive and interested qualities. (shrink)

The essential premise of the human-centered technology paradigm was clearly formulated by Howard Rosenbrock in the 1970s: technology should enrich rather than impoverish people’s work and life conditions. The increasing influence of technology in modern societies has been seen by some as offering great promise for the future, but by others as creating the electronic surveillance and/or manipulation of human genes, minds and beliefs. This paper approaches technological worlds as cultural visions in order to discuss and reflect the paradoxical process (...) of viewing technology as part of a hope for a more sustainable and human-centered future as well as part of an apocalypse of surveillance, violence and catastrophes. (shrink)

A semiotic theory of systems derived from language would have the purpose of classifying all the systems of linguistic expression: philosophy, ideology, myth, poetry, art, as much as the dream, lapsus, and free association in a pluridimensional matrix that will interact with many diversified fields. In each one of these discourses it is necessary to consider a plurality of questions, the essence of which will only be comprehensible by the totality; it will be necessary to ask, in the first place, (...) what will be the purpose of this language, what function does it fulfill and for which reason has it been constructed. The concept of World vision (WV) is introduced and its relation with Generalized Collective Conscience (GCC) and Particularized Collective Conscience. Culture implies a particular WV. Culture creates GCC. The semantic field is a structure that formalizes the units of a certain culture constituting a portion of the vision of the Reality that owns this culture. An ecological case is explained. (shrink)

A modified visual search task demonstrates that humans are very good at resuming a search after it has been momentarily interrupted. This is shown by exceptionally rapid response time to a display that reappears after a brief interruption, even when an entirely different visual display is seen during the interruption and two different visual searches are performed simultaneously. This rapid resumption depends on the stability of the visual scene and is not due to display or response anticipations. These results are (...) consistent with the existence of an iterative hypothesis-testing mechanism that compares information stored in short-term memory (the perceptual hypothesis) with information about the display (the sensory pattern). In this view, rapid resumption occurs because a hypothesis based on a previous glance of the scene can be tested very rapidly in a subsequent glance, given that the initial hypothesis-generation step has already been performed. (shrink)

In his article «A Vision for the Third Millennium, ‘The Age of Global Dialogue’: Dialogue or Death», Swidler attempts to show that humankind is in a crucial transition from a stage where monologue is the chief characteristic of rela- tions, to one where dialogue is the chief characteristic. Because of technological advances, dialogue is both more possible than ever before and also more necessary than ever before. The change from monologue to dialogue is a change from a way of (...) interacting modeled on confronta- tion to one modeled on listening. The change is being caused by a number of important parallel shifts, such as an increased awareness of the tenacity of knowledge and the shrinking of the world to a «global community». But while Swidler characterizes the change from monologue to dialogue as «the most fundamental, most radical and utterly transformative of the key elements of the newly emerging paradigm,» he warns that this change is not a guaranteed event. With the great technological advances that make dialogue more possible than ever come new opportunities for technological abuses. Therefore, he warns, we are faced with two choices: dialogue or death. (shrink)

Harun Farocki's films make use of a category of images the director calls “operational”, a term describing images, either photographic or computer-generated, that perform or participate in tasks, usually in military or industrial settings. Treatments of Farocki's films have frequently used the notion of the operational image uncritically, and without comparing Farocki's definition of these images with existing semiotic categories. This article seeks to situate Farocki's operational imagery within a theory of visual communication, and to explore the implications of automated (...) and instrumental imagery for theories of communication in general. Abandoning the focus in much Farocki scholarship on the representative properties of operational imagery, this article focuses on the world-shaping abilities of images that are integral to war and labour. Drawing primarily on Farocki's Eye / Machine I–III series ( Auge / Maschine, 2000–2003) the article then elaborates on the ways in which the world-shaping capacity of operational images conditions human perception and action. In particular, the limitations imposed by operational images upon human actors who interact with them, or live in environments orchestrated by them, reduce the essential role played by indeterminacy and interpretation in communication. (shrink)

We ran a pilot experiment to explore, using a new psychophysical method, the hypothesis proposed by Zietz and Werner in the ’30s, that a sound presented simultaneously with an afterimage can change its phenomenal appearance in non-synaesthetes. The method we adopted is able to directly collect and visualise the apparent changes in intensity of the afterimages, by recording observers’ interactions with a physical feedback mechanism, without referring to verbal descriptions. These first findings support some of the most meaningful observations reported (...) by Werner and Zietz, according to which the colours of the afterimages ‘disintegrate’ at the hearing of a low sound and ‘concentrate’ for a high sound. This relationship is particularly evident with the Yellow stimulus, where the perceived colour intensity of its afterimage seems to have a faster negative change with a low-pitched tone sound, and an increase in intensity and duration when perceived simultaneously with a soprano sound. These data are also coherent with the crossmodal correspondences between both pitch and loudness in audition and lightness and brightness in vision reported in the literature. (shrink)

This article attempts to demystify computer vision for novice programmers through a survey of new applications in the arts, system design considerations, and contemporary tools. It introduces the concept and gives a brief history of computer vision within interactive art from Myron Kruger to the present. Basic techniques of computer vision such as detecting motion and object tracking are discussed in addition to various software applications created for exploring the topic. As an example, the results of (...) a one-week machine vision workshop are presented to show how designers are able to apply their skills toward creating novel uses of these technologies. The article concludes with a listing of code for basic computer vision techniques. (shrink)

The detection of a human’s intended behavior is one of the most important skills that a social robot should have in order to become acceptable as a part of human society, because humans are used to understand the actions of other humans in a goal-directed manner and they will expect the social robot to behave similarly. A breakthrough in this area can advance several research branches related to social intelligence such as learning by imitation and mutual adaptation. To achieve this (...) goal the robot needs to integrate all possible evidence of intention and neglect the unintended behavior, and a complete solution should use low-level signal processing and high-level reasoning. This work explores the low-level signal processing part of the solution by proposing an interactive adaptive perception scheme that uses four important features of human behavior to amplify the signals originating from intended behavior with respect to signals originating from unintended behavior and other noise sources such as instrumental noise. This work follows the vision that intelligence is not only a function of a centralized sophisticated artificial brain, but can be presented in different forms in the entire robot including its perception and motion systems (the mind is not contained in the brain, but distributed in every cell in the body). A simple example of using the proposed scheme was implemented and the results of two experiments with it are also presented. (shrink)

The contemporary inclination is to interpret religion in personal terms. This inclination may be legitimate, but raises two troubling questions: one about the content of such interpretations and one about the conduct such interpretation sanction. In the 20th century, interaction between ideology and politics was dominant; in the 21st century, the interaction between religion and politics dominates. Personal interpretation of religion makes this interaction hazardous. In this paper I consider personally interpreted religion with the help of an unlikely pair: Ludwig (...) Wittgenstein and Michel Foucault. (shrink)

But since the Greeks first wrote what they called tragedies and comedies, and Aristotle in The Poetics formulated some distinctions about them, writers have been conscious of the two modes as engaging them in different undertakings, involving them in different worlds, each with its own demands. They have gauged their predilections and capacities against the demands of each and have deliberately chosen one or the other, or some calculated mixture. They are often quite explicit about it. Shakespeare announced his plays (...) as "tragedies" or "comedies" or, when he chose, he mixed the forms with the recklessness of Polonius. Marlowe spoke his intention when in the Prologue to Tamburlaine he asked his audience to view his hero in "the tragic glass." Ben Jonson ventured into tragedy in his own scholarly, methodical way, boasting to have discharged all the crucial "offices of a Tragic writer," which he lists straight out of Aristotle. Milton's choice of the tragic form to express his final mood was of course deliberate and, especially in relation to the tragic undertones of his great epic, significant. Artists are free--but free to choose their own sort of bondage. It is they and not so much the critics who have worked to maintain the integrity of the forms. Their conscious, explicit choices show that in their eyes the forms are real, and different, and not merely an academic conspiracy. The phenomenon is a powerful example of the fruitful interaction of tradition and individual talent. (shrink)

When cognitive neuropsychologists make inferences about the functional architecture of the normal mind from selective cognitive impairments they generally assume that the effects of brain damage are local, that is, that the nondamaged components of the architecture continue to function as they did before the damage. This assumption follows from the view that the components of the functional architecture are modular, in the sense of being informationally encapsulated. In this target article it is argued that this “locality” assumption is probably (...) not correct in general. Inferences about the functional architecture can nevertheless be made from neuropsychological data with an alternative set of assumptions, according to which human information processing is graded, distributed, and interactive. These claims are supported by three examples of neuropsychological dissociations and a comparison of the inferences obtained from these impairments with and without the locality assumption. The three dissociations are: selective impairments in knowledge of living things, disengagment of visual attention, and overt face recognition. In all three cases, the neuropsychological phenomena lead to more plausible inferences about the normal functional architecture when the locality assumption is abandoned. Also discussed are the relations between the locality assumption in neuropsychology and broader issues, including Fodor's modularity hypothesis and the choice between top-down and bottom-up research approaches. (shrink)

This paper examines the status of unattended visual stimuli in the light of recent work on the role of attention in visual perception. Although the question of whether attention is required for visual experience seems very interesting, this paper argues that there currently is no good reason to take a stand on the issue. Moreover, it is argued that much of the allure of that question stems from a continued attachment to the defective ‘inner picture view’ of experience and a (...) mistaken notion that the ultimate goal of vision is to produce visual experience. The paper considers a promising general account of the content and structure of vision and presents reasons for not taking that account to be committed to any substantive claims about the experiential status of unattended visual stimuli. Also addressed are the active nature of vision and the role of vision in enabling our ecological success. These considerations highlight that visual experience is not the whole of vision and that a much more important question about unattended visual stimuli than whether they are consciously experienced is what contribution they make to how we interact with the world. (shrink)

As recently highlighted, despite a burgeoning field of sensory ethnography, the practices, production, and accountability of the senses in specific social interactional contexts remain sociologically under-explored. To contribute original insights to a literature on the sensuous body in physical–cultural contexts, here we adopt an ethnomethodologically sensitive perspective to focus on the accomplishment, social organization, and accountability of sensoriality in interaction. Exploring instances of the senses at work in social interaction, we utilize data from two ethnographic research projects to investigate the (...) production of running-together and swimming-together by skilled, experienced practitioners. We focus on two interlinked sensory modalities: auditory attunement, and vision and intercorporeality, identified as key dimensions of sensory embodiment and “togethering” in these particular domains. (shrink)

Sugar, pork, beer, corn, cider, scrapple, and hoppin' John all became staples in the diet of colonial America. The ways Americans cultivated and prepared food and the values they attributed to it played an important role in shaping the identity of the newborn nation. In A Revolution in Eating, James E. McWilliams presents a colorful and spirited tour of culinary attitudes, tastes, and techniques throughout colonial America. Confronted by strange new animals, plants, and landscapes, settlers in the colonies and West (...) Indies found new ways to produce food. Integrating their British and European tastes with the demands and bounty of the rugged American environment, early Americans developed a range of regional cuisines. From the kitchen tables of typical Puritan families to Iroquois longhouses in the backcountry and slave kitchens on southern plantations, McWilliams portrays the grand variety and inventiveness that characterized colonial cuisine. As colonial America grew, so did its palate, as interactions among European settlers, Native Americans, and African slaves created new dishes and attitudes about food. McWilliams considers how Indian corn, once thought by the colonists as "fit for swine," became a fixture in the colonial diet. He also examines the ways in which African slaves influenced West Indian and American southern cuisine. While a mania for all things British was a unifying feature of eighteenth-century cuisine, the colonies discovered a national beverage in domestically brewed beer, which came to symbolize solidarity and loyalty to the patriotic cause in the Revolutionary era. The beer and alcohol industry also instigated unprecedented trade among the colonies and further integrated colonial habits and tastes. Victory in the American Revolution initiated a "culinary declaration of independence," prompting the antimonarchical habits of simplicity, frugality, and frontier ruggedness to define American cuisine. McWilliams demonstrates that this was a shift not so much in new ingredients or cooking methods, as in the way Americans imbued food and cuisine with values that continue to shape American attitudes to this day. (shrink)

Scholarship on Aristotle’s theory of visual perception has traditionally held that Aristotle had a single, static, conception of light and that he believed that illumination occurred prior to and independent of the actions of colours. I contend that this view precludes the medium from becoming actually transparent, thus making vision impossible. I here offer an alternative to the traditional interpretation, using contemporary conceptual tools to make good philosophical sense of Aristotle’s position. I call my view the ‘ecological’ interpretation. It (...) postulates two conceptions of light: non-visible mobile propagated light and visible static illumination produced by the interaction of propagated light with the environment’s coloured textured surfaces. I argue that these contemporary conceptual tools can find a foothold in and consistently enrich Aristotle’s extant position and that, with their aid, we can restore coherence to his theories of light and vision. (shrink)

Peripheral vision has different functional priorities for mammals than foveal vision. One of its roles is to monitor the environment while central vision is focused on the current task. Becoming distracted too easily would be counterproductive in this perspective, so the brain should react to behaviourally relevant changes. Gist processing is good for this purpose, and it is therefore not surprising that evidence from both functional brain imaging and behavioural research suggests a tendency to generalize and blend (...) information in the periphery. This may be caused by the balance of perceptual influence in the periphery between bottom-up and top-down processing channels. Here, we investigated this interaction behaviourally using a peripheral numerosity discrimination task with top-down and bottom-up manipulations. Participants compared numerosity between the left and right peripheries of a screen. Each periphery was divided into a centre and a surrounding area, only one of which was a task relevant target region. Our top-down task modulation was the instruction which area to attend – centre or surround. We varied the signal strength by altering the stimuli durations i.e., the amount of information presented/processed. We found that numerosity perceived in target regions was affected by contextual information in neighbouring areas. This effect appeared as soon as stimulus duration allowed the task to be reliably performed and persisted even at the longest duration. We compared the pattern of results with an ideal-observer model and found a qualitative difference in the way centre and surround areas interacted perceptually in the periphery. When participants reported on the central area, the irrelevant surround would affect the response as a weighted combination – consistent with the idea of a receptive field focused in the target area to which irrelevant surround stimulation leaks in. When participants report on surround, we can best describe the response with a model in which occasionally the attention switches from task relevant surround to task irrelevant centre – consistent with a selection model of two competing streams of information. Overall our results show that the influence of spatial context in the periphery is mandatory but task dependent. (shrink)

Information security is perceived as an important and vital aspect for the survival of any business. Preserving user identity and limiting the access of web resources only to the humans and restricting ‘bots’ is an ever challenging area of study. With the increase in computing power and development of newer approaches towards circumvention and reverse-engineering, the recognition gap present between the machines and the humans is said to be decreasing. Turing test and its modified versions are in place to deal (...) with such problems and ways to resolve them by developing complex algorithms for bot prevention systems like CAPTCHA (Completely Automated Public Turing test to tell Computers and Humans Apart). This paper will deal with the use of “Machine Vision” for judging the ability of the machines to compete with humans in breaking sequences of security systems like CAPTCHA. Reverse Turing test will be put to practise here. Complex image recognition technologies and novel approaches towards using Human interactive proofs (HIP) are discussed. The progress of Turing test over the past 60 years has been paid due attention at the end. After all this experimentation, it can be said that the current machine vision is quite poor and is far worse than it is expected to be. (shrink)

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to (...) quantify the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (shrink)

This essay attempts to develop a psychologically informed semantics of perception reports, whose predictions match with the linguistic data. As suggested by the quotation from Miller and Johnson-Laird, we take a hallmark of perception to be its fallible nature; the resulting semantics thus necessarily differs from situation semantics. On the psychological side, our main inspiration is Marr's (1982) theory of vision, which can easily accomodate fallible perception. In Marr's theory, vision is a multi-layered process. The different layers have (...) filters of different gradation, which makes vision at each of them approximate. On the logical side, our task is therefore twofold • to formalise the layers and the ways in which they may refine each other, and • to develop logical means to let description vary with such degrees of refinement. The first task is formalised by means of an inverse systems of first order models, with reality appearing as its inverse limit. The second task is formalised by means of so-called conditional quantifiers, a new form of generalised quantification which can best be described as resource bounded quantification. We show that the logic provides for a semantics and pragmatics of direct perception reports. In particular, direct perception reports have a possibly nonveridical, approximative semantics, which becomes veridical only by virtue of our pragmatic expectation that what is perceived would continue to be the case, were we to perceive more accurately. It is a general feature of resource bounded logics that the underlying logics are weak, but that stronger principles can be obtained pragmatically, by strengthening the resource. For the logic of vision this feature is clarified by showing how changes in the resource capture different notions of partiality, and by studying how the perception verb interacts with connectives and quantifiers in different visual contexts. The inference Veridicality, which is now viewed rather as a nonmonotonic inference, is also studied in depth. We end with an attempt to buttress the proposed model by comparing it with suggestions put forward in Cognitive or Conceptual Semantics, in the literature on evidentials, and in Husserl's philosophy of perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Subtlety and Moral Vision in FictionEileen JohnIIn Martha Nussbaum’s work in Love’s Knowledge, the subtlety of literary fiction is given a prominent role in explaining literature’s moral influence. 1 Nussbaum argues that the subtlety displayed in certain works of literary fiction can help readers develop habits of perception such that they will perceive their actual moral world more finely and respond to it with a more nuanced range (...) of feeling. We are encouraged to perceive in this way both by encountering good examples of subtle, sensitive moral agents, in characters such as James’s Maggie Verver in The Golden Bowl, and by undergoing the perceiving, responding activity that can be required of a reader. The overarching assumption is that, as moral agents, we need finely-tuned perceptions and felt responses if we are to pick up on the morally relevant elements of our circumstances. We cannot count on finding bold, neat and regular moral patterns to follow; we are rather likely to find ourselves in a complex web of particular contexts, each demanding special moral attention. 2Nussbaum develops these claims in close conversation with the fiction and literary essays of Henry James. 3 Through examples from his novels, she illustrates and elaborates upon the ideal he points to in his essays, the ideal of “being finely aware and richly responsible,” of being a person “on whom nothing is lost.” 4 It seems quite appropriate to dwell on the works of Henry James as displaying—and as demanding from readers—a finer discrimination of elements of experience than we [End Page 308] ordinarily achieve. Discussing the “we” of James’s readers (and leading with a phrase of James’s), Nussbaum puts it: “‘Participators by a fond attention’ in the lives and dilemmas of his participants, we engage with them in a loving scrutiny of appearances. We actively care for their particularity, and we strain to be people on whom none of their subtleties are lost, in intellect and feeling” (p. 162). Having experienced this as readers, we are supposed to be better prepared to approach our own lives and dilemmas with equally scrupulous and caring attention.In general, I am less confident than Nussbaum about the connections between responsible reading of excellent fiction and the pursuit of a responsible moral life. The effects of intense appreciation of fictional moral contexts on real-life decision-making and action are probably quite indirect, requiring encouragement from real-life experiences, from practice with situations in which we have something at stake. But for the moment, I want to develop a suggestion that assumes, in agreement with Nussbaum, that one may take habits of perception learned as a reader and make them count in one’s larger moral life—albeit with reinforcement from one’s judgments and actions in that life.My suggestion involves seeing literary fiction as sometimes playing a subversive role with regard to subtlety. In saying that literary fiction can be “subversive” of subtlety, I am trying to capture the ways in which reading fiction can disrupt a working standard of subtlety. Works of fiction do not provide “normal” perceptual fields, and readers do not approach them with precisely “normal” perceptual habits, so, roughly stated, the reader-fiction interaction has plenty of potential for disrupting epistemic standards of subtlety, bluntness, opacity and so forth. I will illustrate two sorts of subversions of subtlety with an example from Toni Morrison’s The Bluest Eye. In one case, I will argue that the subversion of the standard of subtlety has moral import—this will provide a case to contrast with Nussbaum’s Jamesian examples.By bringing in an example from a non-Henry James novel, I hope to open up the discussion of moral vision in fiction to encompass epistemic qualities besides subtlety. It does not seem that the ideals of subtlety, fine awareness, and missing nothing can be the only epistemic qualities which serve to support literary works’ moral influence. 5 Nussbaum herself acknowledges that, by focusing on one literary paradigm, she pursues only one strand of a larger project (pp. 45–46). Since I here consider just one example from a different style of novel... (shrink)

This article critically investigates the potential confrontation that exists between mixed reality in Human-Computer Interaction (HCI) artworks that are, respectively, based on the concepts of phenomenology and Chinese Qi. My proposal is exemplified by the Industrial Technology Research Institute of Taiwan’s Flow of Qi (2007), which uses ultra wide band technology that instantly transforms the data of a pair of participants’ real-time breath into the replication of calligraphy masterworks projected onto the floor in front of the participants. To explore how (...) efficiency of breath constitutes mixed reality in Flow of Qi, I draw a parallel between Qi, which is embodied as breath, and agency whereby, as discussed by Murray and Hansen, the notion of the perception-action relationship is emphasized. However, compared to agency, Qi is characterized as evoking ‘the unity of the cosmos with humanity’ (t’ien-jen ho-yi) because the participants are involved in a process wherein the masters used their brushstrokes to grasp the respiration of the cosmos. Therefore, employing the concepts of Chinese Qi draws out an anthropocosmic vision of mixed reality that links participants with the cosmos and manifests a Qi world-view through digital media. (shrink)

Taking up John of Salisbury’s dictum that we read ancient texts to improve our eyesight, this article returns to an “old” book for “new” insight into the perennial philosophical problem of visual perception. A careful reading of Berkeley’s essay on vision improves our eyesight in at least four ways: First, it reminds us that the most interesting aspects of visual perception are not “primary” but “derivative.” Second, it reminds us that our relationship with the world is an interactive (...) process of making connections and proposes some ways in which those connections and the process of making them might be brought to consciousness and subjected to critical examination. Third, it reminds us of the extent to which making connections is a linguistic process: we live in language as surely as we live in the world, and the processes by which we take our places in the world are forms of language. Fourth, it introduces a concept of “levels” and movement between them that is particularly important to computational models that may result in nonhuman analogues of human vision. (shrink)

Taking up John of Salisbury’s dictum that we read ancient texts to improve our eyesight, this article returns to an “old” book for “new” insight into the perennial philosophical problem of visual perception. A careful reading of Berkeley’s essay on vision improves our eyesight in at least four ways: First, it reminds us that the most interesting aspects of visual perception are not “primary” but “derivative.” Second, it reminds us that our relationship with the world is an interactive (...) process of making connections and proposes some ways in which those connections and the process of making them might be brought to consciousness and subjected to critical examination. Third, it reminds us of the extent to which making connections is a linguistic process: we live in language as surely as we live in the world, and the processes by which we take our places in the world are forms of language. Fourth, it introduces a concept of “levels” and movement between them that is particularly important to computational models that may result in nonhuman analogues of human vision. (shrink)

There has long been a curious fascination with eyes and mirrors as evident throughout art, film, and literature. From fantastical characters who shoot lasers from their eyes to those whose memories are altered visually, the way in which a story portrays the function of the eyes demonstrates the way the storyteller imagines the character's relationship to the world. Is the character powerful or powerless? Does she impact her world or is she impacted by that world? The storyteller's portrayal of (...) class='Hi'>vision answers those questions and reveals deeper assumptions about the individual and her ability to move within and to know her world. While eyes are associated with interacting with this world, mirrors are distinctly associated with interacting with some other world. Mirrors function as portals to other worlds, windows that glimpse an alternate reality, or harmful traps that hide sinister intentions. How an author portrays eyes reveals how she understands the world, while how she portrays mirrors reveals how she imagines the unknown. (shrink)

This book compares Butler's and Wang's moral vision and conception of conscience. It seeks to advance our ongoing inquiry into the complex encounter between Christianity and Confucianism. The study shows that in both thinkers' treatises are profound consonances that could serve as framework for a constructive interaction between these two civilizations.

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva (...) considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva (...) considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

A model of production and exchange is proposed as an alternative to both market-oriented policy and social welfare policy. New patterns of social coordination at work form the basis for a new form of production output value: conducive value. This value is developed in both workers and consumers, activates skills and capabilities, and transforms customers from passive recipients to active users. It broadens the definition of economically valid social activity and it will help to resolve the unemployment dilemma arising with (...) globalization. The article observes that the flexibility demanded by neoliberal, market-oriented policy is antithetical to the flexibility of creative production, which builds on horizontal interaction at work and in exchange, thereby facilitating the creation of social relationships and social capital. In that, it constructs bridges between the new policy and models of social policy which form its platform and enhances the chances for effective democracy in society. (shrink)

Traditionally, vision science and information/data visualization have interacted by using knowledge of human vision to help design effective displays. It is argued here, however, that this interaction can also go in the opposite direction: the investigation of successful visualizations can lead to the discovery of interesting new issues and phenomena in visual perception. Various studies are reviewed showing how this has been done for two areas of visualization, namely, graphical representations and interaction, which lend themselves to work on (...) visual processing and the control of visual operations, respectively. The results of these studies have provided new insights into aspects of vision such as grouping, attentional selection and the sequencing of visual operations. More generally yet, such results support the view that the perception of visualizations can be a useful domain for exploring the nature of visual cognition, inspiring new kinds of questions as well as casting new light on the limits to which information can be conveyed visually. (shrink)

ArgumentThe paper is an exploration of the interactions between Einstein and Oppenheimer. It highlights the sharp differences in Einstein's and Oppenheimer's approach to physics, in their presentation of self as iconic figures, and in their relation to the communities they considered themselves part of. To understand their differing approaches to physics it briefly reviews the kinds of unifications that took place in physics during the first two-thirds of the twentieth century and points to the 1961 MIT centennial celebration to demonstrate (...) the potency of Einstein's vision that there might be a fundamental theory from which all known theories could be derived. It also briefly reviews various aspects of the development of theoretical physics and of general relativity in the first two-thirds of the twentieth century, to better understand the context of the sharp, negative remarks that Oppenheimer made about Einstein and about his theory of general relativity in 1965 on the occasion of the tenth anniversary of Einstein's death. To answer the question: “Why the antagonism on Oppenheimer's part?” it looks at Oppenheimer's and Einstein's relation to their Jewish roots, their stance regarding nationalism, and their philosophical commitments. (shrink)