Symmetry in biological and physical systems is a product of self-organization driven by evolutionary processes, or mechanical systems under constraints. Symmetry-based feature extraction or representation by neural networks may unravel the most informative contents in large image databases. Despite significant achievements of artificial intelligence in recognition and classification of regular patterns, the problem of uncertainty remains a major challenge in ambiguous data. In this study, we present an artificial neural network that detects symmetry uncertainty states in human (...) observers. To this end, we exploit a neural network metric in the output of a biologically inspired Self- Organizing Map Quantization Error (SOM-QE). Shape pairs with perfect geometry mirror symmetry but a non-homogenous appearance, caused by local variations in hue, saturation, or lightness within and/or across the shapes in a given pair produce, as shown here, a longer choice response time (RT) for “yes” responses relative to symmetry. These data are consistently mirrored by the variations in the SOM-QE from unsupervised neural network analysis of the same stimulus images. The neural network metric is thus capable of detecting and scaling human symmetry uncertainty in response to patterns. Such capacity is tightly linked to the metric’s proven selectivity to local contrast and color variations in large and highly complex image data. (shrink)

Evolution and geometry generate complexity in similar ways. Evolution drives natural selection while geometry may capture the logic of this selection and express it visually, in terms of specific generic properties representing some kind of advantage. Geometry is ideally suited for expressing the logic of evolutionary selection for symmetry, which is found in the shape curves of vein systems and other natural objects such as leaves, cell membranes, or tunnel systems built by ants. The topology and geometry of (...) symmetry is controlled by numerical parameters, which act in analogy with a biological organism’s DNA. The introductory part of this paper reviews findings from experiments illustrating the critical role of two-dimensional (2D) design parameters, affine geometry and shape symmetry for visual or tactile shape sensation and perception-based decision making in populations of experts and non-experts. It will be shown that 2D fractal symmetry, referred to herein as the “symmetry of things in a thing”, results from principles very similar to those of affine projection. Results from experiments on aesthetic and visual preference judgments in response to 2D fractal trees with varying degrees of asymmetry are presented. In a first experiment (psychophysical scaling procedure), non-expert observers had to rate (on a scale from 0 to 10) the perceived beauty of a random series of 2D fractal trees with varying degrees of fractal symmetry. In a second experiment (two-alternative forced choice procedure), they had to express their preference for one of two shapes from the series. The shape pairs were presented successively in random order. Results show that the smallest possible fractal deviation from “symmetry of things in a thing” significantly reduces the perceived attractiveness of such shapes. The potential of future studies where different levels of complexity of fractal patterns are weighed against different degrees of symmetry is pointed out in the conclusion. (shrink)

It is proposed that symmetry of stone tools may derive from perceptual similarity rather than from cognitively more complex awareness of symmetry. Although encodement of shapes necessarily involves symmetry (as evidenced by the confusability of enantiomorphs), it does not imply awareness of symmetry. Responses of relatively simple organisms, such as bees, support the notion that the processes involved are likely to be perceptual.

It appears that knappers intentionally produced symmetrical stones. Use of the dorsal pathways in knapping does not preclude shape perception, nor does it obviate use of ventral pathways in other tasks in Homo sapiens 400,000 years ago. Shape perception precedes production in present-day human infants, suggesting that symmetry perception was used by knappers of symmetrical stones.

In ‘Parental Genetic Shaping and Parental Environmental Shaping’, Anca Gheaus argues there is a normative difference between parents using genetic means to influence the development of their child, and parents using environmental means to achieve the same ends. Genetic shaping but not environmental shaping, it is claimed, introduces a negative asymmetry in the child–caregiver relationship. In this paper, we argue that Gheaus’ argument fails as a critique of genetic shaping, and does not establish a moral difference between genetic and environmental (...) shaping. Contrary to Gheaus’ arguments in both ‘Parental Genetic Shaping and Parental Environmental Shaping’ and ‘Parental Enhancement and Symmetry of Power in the Parent–Child Relationship’, we also argue that even if genetic or prebirth shaping introduces further inequality in the parent–child relationship, this is not necessarily a bad thing, and it is not clear how a parent refraining from taking up the availability of such technology leaves the child better off. (shrink)

Scientific observation has led to the discovery of recurring patterns in nature. Symmetry is the property of an object showing regularity in parts on a plane or around an axis. There are several types of symmetries observed in the natural world and the most common are mirror symmetry, radial symmetry, and translational symmetry. Symmetries can be continuous or discrete. A discrete symmetry is a symmetry that describes non-continuous changes in an object. A continuous (...) class='Hi'>symmetry is a repetition of an object an infinite number of times. A consequence of continuous symmetry is the existence of conservation laws. A natural system with discrete and continuous symmetries displays several physical properties, such as the existence of long-range order. Geometric shapes exhibit symmetry as mirror reflections of each other. Symmetry in nature has been a model of beauty since the beginning of civilization. Since the earliest times, nature itself has manifestly been a model, evincing regularity in sundry forms and occurrences–from minerals and plants to the anatomy of living beings, to the regularly recurring stellar constellations. For Ancient Greek philosophers, proportion, symmetry, and harmony, were the basics to determine whether something is beautiful or not. Ancient Greek philosophers were known for bringing logic and rational thinking to phenomena that were previously explained by mythology and Gods. They observed the natural world around them and used their knowledge to answer questions about the proportion in observable objects and the origin of Earth. The Greek words _summetria_ and _summetros_ appear frequently in the Timaeus, defined as parts with each other and with the whole. Plato has a very rough concept of symmetry, and when he uses “beauty” to characterize the so-called Platonic Solids in the Timaeus, he seems to be emphasizing their regularity and indirectly their symmetry. Plato believes the four elements (earth, air, fire, water) have been constructed by the Demiurge, or a divine craftsman who appoints order in an otherwise chaotic universe. Minerals are representative examples of beauty, order, and symmetry in inorganic materials. Well-formed minerals (crystals) are a collection of equivalent faces related by symmetry. The goal of this paper is to relate the perspective of symmetry in ancient Greek philosophy with the modern scientific evidence of the geometric description of crystal structures. The five Platonic solids are ideal models of geometrical patterns that occur throughout the world of minerals. In this paper, minerals serve as a model of connecting the symmetry theory in Plato’s philosophy and modern advances in mineralogy. (shrink)

Leaves and flowers frequently have a characteristic rippling pattern at their edges. Recent experiments found similar patterns in torn plastic. These patterns can be reproduced by imposing metrics upon thin sheets. The goal of this paper is to discuss a collection of analytical and numerical results for the shape of a sheet with a non-flat metric. First, a simple condition is found to determine when a stretched sheet folded into a cylinder loses axial symmetry, and buckles like a (...) flower. General expressions are next found for the energy of stretched sheets, both in forms suitable for numerical investigation, and for analytical studies in the continuum. The bulk of the paper focuses upon long thin strips of material with a linear gradient in metric. In some special cases, the energy-minimizing shapes of such strips can be determined analytically. Euler–Lagrange equations are found which determine the shapes in general. The paper closes with numerical investigations of these equations. (shrink)

Barbour’s interpretation of Mach’s principle led him to postulate that gravity should be formulated as a dynamical theory of spatial conformal geometry, or in his terminology, “shapes.” Recently, it was shown that the dynamics of General Relativity can indeed be formulated as the dynamics of shapes. This new Shape Dynamics theory, unlike earlier proposals by Barbour and his collaborators, implements local spatial conformal invariance as a gauge symmetry that replaces refoliation invariance in General Relativity. It is the purpose (...) of this paper to answer frequent questions about (new) Shape Dynamics, such as its relation to Poincaré invariance, General Relativity, Constant Mean (extrinsic) Curvature gauge, earlier Shape Dynamics, and finally the conformal approach to the initial value problem of General Relativity. Some of these relations can be clarified by considering a simple model: free electrodynamics and its dual shift symmetric formulation. This model also serves as an example where symmetry trading is used for usual gauge theories. (shrink)

Studies performed in absence of gravitational constraint show that a living system is unable to choose between two different phenotypes, thus leading cells to segregate into different, alternative stable states. This finding demonstrates that the genotype does not determine by itself the phenotype but requires additional, physical constraints to finalize cell differentiation. Constraints belong to two classes: holonomic (independent of the system's dynamical states, as being established by the space‐time geometry of the field) and non‐holonomic (modified during those biological processes (...) to which they contribute in shaping). This latter kind of “constraints”, in which dynamics works on the constraint to recreate them, have emerged as critical determinants of self‐organizing systems, by manifesting a “closure of constraints.” Overall, the constraints act by harnessing the “randomness” represented by the simultaneous presence of equiprobable events restraining the system within one attractor. These results cast doubt on the mainstream scientific concept and call for a better understanding of causation in cell biology. (shrink)

Humans naturally perceive visual patterns in a global manner and are remarkably capable of extracting object shapes based on properties such as proximity, closure, symmetry, and good continuation. Notwithstanding the role of these properties in perceptual grouping, studies highlighted differences in disembedding performance across individuals, which are summarized by the field dependence dimension. Evidence suggests that age and educational attainment explain part of this variability, whereas the role of sex is still highly debated. Also, which stimulus features primarily influence (...) inter-individual variations in perceptual grouping has still to be fully determined. Building upon these premises, we assessed the role of age, education level, and sex on performance at the Leuven Embedded Figure Test—a proxy of disembedding abilities—in 391 cisgender individuals. We also investigated to what extent shape symmetry, closure, complexity, and continuation relate to task accuracy. Overall, target asymmetry, closure, and good continuation with the embedding context increase task difficulty. Simpler shapes are more difficult to detect than those with more lines, yet context complexity impairs the recognition of complex targets to a greater extent. Concerning demographic data, we confirm that age and educational attainment are significantly associated with disembedding abilities and reveal a perceptual advantage in males. In summary, our study further highlights the role of shape properties in disembedding performance and unveils sex differences not reported so far. (shrink)

Search engines have become an integral part of our Internet use. They shape the way we look at the world, they provide orientation where there is none; but the maps they draw are too often hijacked by commercial interest. Search engines are less black box than black foam; functional decoupling, parasite technologies, and the embedding in the greater context of culture and society render the search act subject to overdetermination. Control is thus diluted into a dense network of human (...) and non-human “actants” and the power of the search engine is located in a control zone rather than a control center. In order to shift power back to the public, this paper proposes the concept of “symmetry of confidence”, a new relationship between search engine companies and their users. (shrink)

The notion of shape invariance in supersymmetric quantum mechanics is examined in relation with the generalized oscillator algebra. Shape invariance is reformulated as fermion-number independence of a parameter function and seen as a symmetry under a shape-related parameter transformation. It is also shown how shape invariance is implied in the dynamical group approach.

Two experiments were performed to explore the mechanisms of human 3D shape perception. In Experiment 1, the subjects’ performance in a shape constancy task in the presence of several cues (edges, binocular disparity, shading and texture) was tested. The results show that edges and binocular disparity, but not shading or texture, are important in 3D shape perception. Experiment 2 tested the effect of several simplicity constraints, such as symmetry and planarity on subjects’ performance in a (...) class='Hi'>shape constancy task. The 3D shapes were represented by edges or vertices only. The results show that performance with or without binocular disparity is at chance level, unless the 3D shape is symmetric and/or its faces are planar. In both experiments, there was a correlation between the subjects’ performance with and without binocular disparity. Our study suggests that simplicity constraints, not depth cues, play the primary role in both monocular and binocular 3D shape perception. These results are consistent with our computational model of 3D shape recovery. (shrink)

Some form of agent-relative constraint against the killing of innocent personsis a central principle in deontological moraltheories. In this article I make two claimsabout this constraint. First, I argue that somekillings of innocents performed incircumstances usually not taken to exculpatethe killer are not even pro tanto wrong.Second, I contend that either there is noagent-relative constraint against the killingof innocents or this constraint has a verydifferent shape from that which deontologistsnormally take it to have. My defence of theseclaims rests on (...) two propositions. First, inkilling someone one may actually prolong thatperson''s life. Roughly, life-prolongingkillings are possible, because to kill someoneis to perform an act that causes someone''sdeath and it might well be true that, had onenot performed this act, one''s ``victim'''' wouldhave died earlier. Second, all other thingsbeing equal, killing and causing a person to beunconscious are morally equivalent. Both ofthese propositions are defended in thearticle. (shrink)

In 1672, inspired by the wave theory of Ignace Gaston Pardies, Christiaan Huygens made his first attempt to explain the sine law of refraction, but in 1673 he abandoned his plans owing to difficulties concerning double refraction. Huygens was able to explain double refraction on 6 August 1677 after his discoveries of the axis of symmetry of the crystal and of ‘Huygens's principle’. On 6 August 1679, he wrote: ‘I have found the confirmation of my theory of light and (...) of refraction’, and then described an ‘experimentum crucis’ to decide between his theory and a rival hypothesis. A study of caustics may have led Huygens to the discovery of ‘Huygens's principle’. (shrink)

We discuss the total collision singularities of the gravitational N-body problem on shape space. Shape space is the relational configuration space of the system obtained by quotienting ordinary configuration space with respect to the similarity group of total translations, rotations, and scalings. For the zero-energy gravitating N-body system, the dynamics on shape space can be constructed explicitly and the points of total collision, which are the points of central configuration and zero shape momenta, can be analyzed (...) in detail. It turns out that, even on shape space where scale is not part of the description, the equations of motion diverge at (and only at) the points of total collision. We construct and study the stratified total-collision manifold and show that, at the points of total collision on shape space, the singularity is essential. There is, thus, no way to evolve the solutions through these points. This mirrors closely the big bang singularity of general relativity, where the homogeneous-but-not-isotropic cosmological model of Bianchi IX shows an essential singularity at the big bang. A simple modification of the general-relativistic model (the addition of a stiff matter field) changes the system into one whose shape-dynamical description allows for a deterministic evolution through the singularity. We suspect that, similarly, some modification of the dynamics would be required in order to regularize the total collision singularity of the N-body model. (shrink)

We discuss the total collision singularities of the gravitational N-body problem on shape space. Shape space is the relational configuration space of the system obtained by quotienting ordinary configuration space with respect to the similarity group of total translations, rotations, and scalings. For the zero-energy gravitating N-body system, the dynamics on shape space can be constructed explicitly and the points of total collision, which are the points of central configuration and zero shape momenta, can be analyzed (...) in detail. It turns out that, even on shape space where scale is not part of the description, the equations of motion diverge at (and only at) the points of total collision. We construct and study the stratified total-collision manifold and show that, at the points of total collision on shape space, the singularity is essential. There is, thus, no way to evolve the solutions through these points. This mirrors closely the big bang singularity of general relativity, where the homogeneous-but-not-isotropic cosmological model of Bianchi IX shows an essential singularity at the big bang. A simple modification of the general-relativistic model (the addition of a stiff matter field) changes the system into one whose shape-dynamical description allows for a deterministic evolution through the singularity. We suspect that, similarly, some modification of the dynamics would be required in order to regularize the total collision singularity of the N-body model. (shrink)

The symmetries between points and lines in planar projective geometry and between points and planes in solid projective geometry are striking features of these geometries that were extensively discussed during the nineteenth century under the labels “duality” or “reciprocity.” The aims of this article are, first, to provide a systematic analysis of duality from a modern point of view, and, second, based on this, to give a historical overview of how discussions about duality evolved during the nineteenth century. Specifically, we (...) want to see in which ways geometers’ preoccupation with duality was shaped by developments that lead to modern logic towards the end of the nineteenth century, and how these developments in turn might have been influenced by reflections on duality. (shrink)

This short and shapely book amply delivers its main promise, to discuss and offer views on a handful of central issues concerning the nature and importance of death. It does this with dry humour, unyielding attention to clarity and conciseness, and simple but highly effective structuring throughout.An introductory chapter sets out what you will and what you will not get. It aims to defend the more or less pervasive preoccupation with metaphysics, and outlines the chapters to follow. Ch. 2 contrasts (...) animalism with the psychological view, comes down overall in favour of the former, but incorporates into it some of the teeth of the latter. In ch. 3 Johansson defends the termination thesis, or the view that with death we cease to exist. Ch. 4 considers Epicureanism about death. It gives the Epicurean a number of shots at defending the view that death is not bad, but concludes that even the best of these falls short. This is followed in ch. 5 by a discussion of Lucretius' symmetry argument – we do not regret not having been born earlier, so why regret that we shall not die later? The view put forward here is that our not being born earlier is bad, but, unlike death, bad in an ‘innocent’ way. In the final chapter Johansson asks whether we should be especially concerned about our own deaths, explores the links with reductionist/non‐reductionist debates, and concludes that whatever your stance here, special concern is irrational. For reasons of space I shall say no more about this last chapter, but I shall offer something on the others. (shrink)

After concluding in the introduction that different things are beautiful in different ways, the first section of the treatise focuses on sensory beauty or beauty of bodies. Rejecting symmetry as a sufficient criterion for beauty, Plotinus explains that things in this world are beautiful to the extent that they participate in form and to the extent that shapeless matter is dominated by shape and the formative principle. Sensory beauty stirs the soul and helps it to recognise and remember (...) transcendental beauty. (shrink)

This thought-provoking book examines the science behind human attractiveness—the ratios, proportions, and other factors that to a large extent dictate what we find "beautiful." It's said that "beauty is in the eye of the beholder," but recent scientific research suggests that human attractiveness is much more objective than we once thought, deeply rooted in our biology and evolutionary history. For instance, facial symmetry is considered extremely attractive because it indicates good health and nutrition during the formative developmental years. This (...) book explores these insights. Part I of The Biology of Beauty: The Science behind Human Attractiveness takes a closer look at what traits we find the most alluring and why. It discusses why attractiveness is important from an evolutionary standpoint and the advantages (and disadvantages) of being attractive. In addition to exploring these beauty "universals," it examines how beauty ideals can be shaped by factors such as culture, religion, and the media. Part II provides an in-depth analysis of individual features that contribute to attractiveness, offering scientific explanations for our preferences. The book also includes a collection of insightful sidebars that highlight beauty ideals in different parts of the world and at other times in history. (shrink)

Background and assumptions. Persistence and philosophy of time ; Atomism and composition ; Scope ; Some matters of methodology -- Persistence, location, and multilocation in spacetime. Endurance, perdurance, exdurance : some pictures ; More pictures ; Temporal modification and the "problem of temporary intrinsics" ; Persistence, location and multilocation in generic spacetime ; An alternative classification -- Classical and relativistic spacetime. Newtonian spacetime ; Neo-Newtonian (Galilean) spacetime ; Reference frames and coordinate systems ; Galilean transformations in spacetime ; Special relativistic (...) spacetime ; Length contraction and time dilation ; Invariant properties of special relativistic spacetime -- Persisting objects in classical spacetime. Enduring, perduring, and exduring objects in Galilean spacetime ; The argument from vagueness ; From minimal D-fusions to temporal parts ; Motivating a sharp cutoff ; Some objections and replies ; Implications -- Persisting objects in Minkowski spacetime. Enduring, perduring, and exduring objects in Minkowski spacetime ; Flat and curved achronal regions in Minkowski spacetime ; Early reflections on persisting objects in Minkowski spacetime : Quine and Smart ; "Profligate ontology"? ; Is achronal universalism tenable in Minkowski spacetime? ; "Crisscrossing" and immanent causation -- Coexistence in spacetime. The notion of coexistence ; Desiderata ; Coexistence in Galilean spacetime ; Coexistence in Minkowski spacetime : CASH ; Alexandrov-Stein present and Alexandrov-Stein coexistence ; AS-Coexistence v. CASH : symmetry, multigrade, and objectivity ; As-coexistence v. CASH : relevance ; The mixed past of coexistence ; No need in the extended now -- Strange coexistence? Coexistence and existence@ ; The asymmetry thesis ; The absurdity thesis ; Collective CASH value of coexistence ; Collective existence@ and coexistence in classical spacetime ; Collective existence@ and coexistence in Minkowski spacetime ; Contextuality ; Chronological incoherence ; Some objections -- Shapes and other arrangements in Minkowski spacetime. How rigid is a granite block? ; Perspectives in space ; Perspectives in spacetime ; Are shapes intrinsic to objects? ; The causal objection ; The micro-reductive objection ; Pegs, boards, and shapes ; Perduring objects exist. (shrink)

The universality, invariance, and elegance of principles governing the universe may be reflected in principles of the minds that have evolved in that universe – provided that the mental principles are formulated with respect to the abstract spaces appropriate for the representation of biologically significant objects and their properties. (1) Positions and motions of objects conserve their shapes in the geometrically fullest and simplest way when represented as points and connecting geodesic paths in the six-dimensional manifold jointly determined by the (...) Euclidean group of three-dimensional space and the symmetry group of each object. (2) Colors of objects attain constancy when represented as points in a three-dimensional vector space in which each variation in natural illumination is canceled by application of its inverse from the three-dimensional linear group of terrestrial transformations of the invariant solar source. (3) Kinds of objects support optimal generalization and categorization when represented, in an evolutionarily-shaped space of possible objects, as connected regions with associated weights determined by Bayesian revision of maximum-entropy priors. Key Words: apparent motion; Bayesian inference; cognition; color constancy; generalization; mental rotation; perception; psychological laws; psychological space; universal laws. (shrink)

Starting from a generalized Hamilton-Jacobi formalism, we develop a new framework for constructing observables and their evolution in theories invariant under global time reparametrizations. Our proposal relaxes the usual Dirac prescription for the observables of a totally constrained system and allows one to recover the influential partial and complete observables approach in a particular limit. Difficulties such as the non-unitary evolution of the complete observables in terms of certain partial observables are explained as a breakdown of this limit. Identification of (...) our observables relies upon a physical distinction between gauge symmetries that exist at the level of histories and states, and those that exist at the level of histories and not states. This distinction resolves a tension in the literature concerning the physical interpretation of the partial observables and allows for a richer class of observables in the quantum theory. There is the potential for the application of our proposal to the quantization of gravity when understood in terms of the Shape Dynamics formalism. (shrink)

Geometrical intuitions spontaneously drive visuo-spatial reasoning in human adults, children and animals. Is their emergence intrinsically linked to visual experience, or does it reflect a core property of cognition shared across sensory modalities? To address this question, we tested the sensitivity of blind-from-birth adults to geometrical-invariants using a haptic deviant-figure detection task. Blind participants spontaneously used many geometric concepts such as parallelism, right angles and geometrical shapes to detect intruders in haptic displays, but experienced difficulties with symmetry and complex (...) spatial transformations. Across items, their performance was highly correlated with that of sighted adults performing the same task in touch (blindfolded) and in vision, as well as with the performances of uneducated preschoolers and Amazonian adults. Our results support the existence of an amodal core-system of geometry that arises independently of visual experience. However, performance at selecting geometric intruders was generally higher in the visual compared to the haptic modality, suggesting that sensory-specific spatial experience may play a role in refining the properties of this core-system of geometry. (shrink)

The paper has three parts. In the first part ExtOSR, an extended version of Ontic Structural Realism, will be introduced. ExtOSR considers structural properties as ontological primitives, where structural properties are understood as comprising both relational and structurally derived intrinsic properties or structure invariants. It is argued that ExtOSR is best suited to accommodate gauge symmetry invariants and zero value properties. In the second part, ExtOSR will be given a Humean shape by considering structures as categorical and global. (...) It will be laid out how such structures serve to reconstruct non-essential structural kinds and laws. In the third part Humean structural realism will be defended against the threat of quidditism. (shrink)

In the latter part of the nineteenth century, diverse sciences grounded in natural history made a virtue of field research that somehow tested scientists' endurance; disciplinary change derived from the premise that witnesses were made reliable by character-molding trials. The turn to the field was a function of structural transformations in various quarters, including (but hardly limited to) global politics, communications systems, and scientific institutions, and it conduced to biogeographical explanations, taxonomic schemes that admitted of heterogeneity, and affective research styles. (...) Sociocultural anthropology, which took specialized shape at the beginning of the twentieth century, shared many properties with other field sciences, but its method—participant observation—was distinctive. Critical to the method's definition were the efforts of the British experimental psychologist-anthropologist W. H. R. Rivers, who relied on notions then widespread in Europe and the United States. The discipline's future mythic hero, Bronislaw Malinowski, embraced Rivers's model. For both men, proper fieldwork meant using the researcher's body as an instrument and entailed understanding both the anthropologist's body and the research subject's body as energy systems; this symmetry facilitated a relativist perspective. Participant observation remains central to sociocultural anthropology, but the discipline's pedagogic habits contributed to loss of memory of its energetic conceptualization. -/- . (shrink)

This round table discussion takes the diversity of discourse and practice shaping modern knowledge about childhood as an opportunity to engage with recent historiographical approaches in the history of science. It draws attention to symmetries and references among scientific, material, literary and artistic cultures and their respective forms of knowledge. The five participating scholars come from various fields in the humanities and social sciences and allude to historiographical and methodological questions through a range of examples. Topics include the emergence of (...) children's rooms in US consumer magazines, research on the unborn in nineteenth-century sciences of development, the framing of autism in nascent child psychiatry, German literary discourses about the child's initiation into writing, and the sociopolitics of racial identity in the photographic depiction of African American infant corpses in the early twentieth century. Throughout the course of the paper, childhood emerges as a topic particularly amenable to interdisciplinary perspectives that take the history of science as part of a broader history of knowledge. (shrink)

Corporate carbon footprint data has become ubiquitous. This data is also highly promissory. But as this paper argues, such data fails both consumers and citizens. The governance of climate change seemingly requires a strong foundation of data on emission sources. Economists approach climate change as a market failure, where the optimisation of the atmosphere is to be evidence based and data driven. Citizens or consumers, state or private agents of control, all require deep access to information to judge emission realities. (...) Whether we are interested in state-led or in neoliberal ‘solutions’ for either democratic participatory decision-making or for preventing market failure, companies’ emissions need to be known. This paper draws on 20 months of ethnographic fieldwork in a Fortune 50 company’s environmental accounting unit to show how carbon reporting interferes with information symmetry requirements, which further troubles possibilities for contesting data. A material-semiotic analysis of the data practices and infrastructures employed in the context of corporate emissions disclosure details the situated political economies of data labour along the data processing chain. The explicit consideration of how information asymmetries are socially and computationally shaped, how contexts are shifted and how data is systematically straightened out informs a reflexive engagement with Big Data. The paper argues that attempts to automatise environmental accounting’s veracity management by means of computing metadata or to ensure that data quality meets requirements through third-party control are not satisfactory. The crossover of Big Data with corporate environmental governance does not promise to trouble the political economy that hitherto sustained unsustainability. (shrink)

Many physicists view the most sublime task of physics in presenting some day a world formula or a simple Theory of Everything that accounts for all major physical theories and from which everything follows by pure deduction.1 This striving for universality can look back on a long history, which contains the failed attempts to incorporate electrodynamics into universal mechanics, Einstein’s einheitliche Feldtheorie and Heisenberg’s explicit proposal of an Urgleichung. Those attempts were encouraged by the success of general relativity, which embraced (...) classical mechanics and Newtonian gravity as well defined limits. A decade later quantum mechanics was given its final shape, which allowed the explanation of all atomic phenomena known up to then and contained classical mechanics as its macroscopic limit at least in the stochastic interpretation, i.e. comparing both as theories of measurement. After the success of gauge theories in elementary particle physics, the search for a fundamental simple equation was replaced by the search for a basic symmetry group that described all fundamental interactions apart from gravity. It resulted in the famous gauge group of the Standard Model SU × SU L × U , which comprises the strong, the weak and the electromagnetic interaction. But the fact that the Standard Model contains 18 parameters, which have to be introduced from outside, inspired the search for a larger unifying gauge group. These Grand Unified Theories tried to derive some of the parameters of the Standard Model from more fundamental gauge symmetries. With the rise of string theory, which intends to include gravity as well, a new term popped up to express the old claims: Theory of Everything. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

The very existence of society depends on the ability of its members to influence formatively the beliefs, desires, and actions of their fellows. In every sphere of social life, powerful human agents (whether individuals or institutions) tend to use coercion as a favorite shortcut to achieving their aims without taking into consideration the non-violent alternatives or the negative (unintended) consequences of their actions. This propensity for coercion is manifested in the doxastic sphere by attempts to shape people’s beliefs (and (...) doubts) while ignoring the essential characteristics of these doxastic states. I argue that evidential persuasion is a better route to influence people’s beliefs than doxastic coercion. Doxastic coercion perverts the belief-forming mechanism and undermines the epistemic and moral faculties both of coercers and coercees. It succeeds sporadically and on short-term. Moreover, its pseudo doxastic effects tend to disappear once the use of force ceases. In contrast to doxastic coercion, evidential persuasion produces lasting correct beliefs in accordance with proper standards of evidence. It helps people to reach the highest possible standards of rationality and morality. Evidential persuasion is based on the principles of symmetry and reciprocity in that it asks all persuaders to use for changing the beliefs of others only those means they used in forming their own beliefs respecting the freedom of will and assuming the standard of rationality. The arguments in favor of evidential persuasion have a firm theoretical basis that includes a conceptual clarification of the essential traits of beliefs. Belief is treated as a hypercomplex system governed by Leibniz’s law of continuity and the principle of self-organization. It appears to be a mixture consisting of a personal propositional attitude and physical objects and processes. The conceptual framework also includes a typology of believers according to the standards of evidence they assume. In this context, I present a weak version of Clifford’ ethical imperative. In the section dedicated to the prerequisites for changing beliefs, I show how doxastic agents can infuse premeditated or planned changes in the flow of endogenous changes in order to shape certain beliefs in certain desired forms. The possibility of changing some beliefs in a planned manner is correlated with a feedback doxastic (macro-mechanism) that produces a reaction when it is triggered by a stimulus. In relation with the two routes to influence beliefs, a response mechanism is worth taking into consideration – a mechanism governed to a significant extent by human conscience and human will, that appears to be complex, acquired, relatively detached from visceral or autonomic information processing, and highly variable in reactions. Knowing increasingly better this doxastic mechanism, we increase our chances to use evidential persuasion as an effective (although not time-efficient) method to mold people’s beliefs. (shrink)

Several authors have characterized a striking phenomenon of perceptual learning in visual discrimination tasks. This learning process is selective for the stimulus characteristics and location in the visual field. Since the human visual system exploits symmetry for object recognition we were interested in exploring how it learns to use preattentive symmetry cues for discriminating simple, meaningless, forms. In this study, similar to previous studies of perceptual learning, we asked whether the effects of practice acquired in the discrimination of (...) pairs of shape with a specific orientation of the symmetry axis would transfer to the discrimination of shapes with different orientation of symmetry axis, or to shapes presented in different areas of the visual field. We found that there was no learning transfer between forms with very different axes of symmetry (90° apart). Interestingly, however, we found a transfer of learning effect to horizontally oriented symmetry axis from a condition with an axis of symmetry differing by 45°. Also it appears that some subjects took a longer time to learn than the typical fast learning paradigm would predict. Data showed that when observers practice discrimination of meaningless symmetric forms, consistent improvement in the performance occurs. This improvement is lasting over days, and it tends to be specific for the area of the visual field trained. We will discuss results from some of the observers whose learning was not fast, but who actually improved with more practice and with large time intervals (1 day) between training sessions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

The geometry of lattice universes in general is reviewed, and particular attention is given to the 3-geometry of a 5-black hole model universe at the momentarily static phase of maximum expansion as an illustration of the insights to be won by considering symmetries and reflections. Three models for the black holes in this lattice universe are compared and contrasted. Reasons are given for working with Misner's “flange backup” model. The geometry interior to the individual tetrahedral cell of this lattice is (...) compared and contrasted with the electrostatic field produced by a point charge located in the center of a cavity of the same shape that has perfectly conducting walls. (shrink)

Despite challenges on minimum necessary competence, intentionality, reliability, and context, the example of cognitive archaeology presented in the target article holds up well. The commentaries also present perspectives on cognition and symmetry that suggest an alternative to the target article's characterization of the cognitive abilities of early Homo erectus. However, the major conclusion of the initial argument – that the human ability to coordinate shape recognition and spatial cognition evolved hundreds of thousands of year ago in conditions unlike (...) those of the modern world – remains intact. (shrink)

The early evolutionary history of echinoderms was reconstructed on the basis of structural-functional considerations and application of the quasi-engineering approach of ‘Konstruktions-Morphologie’. According to the presented evolutionary scenario, a bilaterally symmetrical ancestor, such as an enteropneust-like organism, became gradually modified into a pentaradial echinoderm by passing through an intermediate pterobranch-like stage. The arms of a pentaradial echinoderm are identified as hydraulic outgrowths from the central coelomic cavity of the bilateral ancestor which developed due to a shortening of the body in (...) length but widening in the diameter. The resulting pentaradial symmetry is a consequence of mechanical laws that dictate minimal contact surface areas among hydraulic pneumatic entities. These developed in the coelomic cavity (metacoel) in the bilaterally symmetrical ancestor, when from the already U-shaped mesentery with the intestinal tract two additional U-shaped bows developed directly or subsequently. During the subsequent development tensile chords of the mesentery ‘sewed’ the gut with the body wall first in three and secondly in five ‘seams’. During the direct development five ‘seams’ between tensile chords and body wall developed straightly. These internal tensile chords subdivide the body coelom into five hydraulic subsystems (‘pneus’), which eventually arrange in a pentaradial pattern. The body could then enlarge only between the tensile chords, which means that five hydraulic bulges developed. These bulges initially supported the tentacles and finally each of them enclosed the tentacle until only the feather-like appendages of the tentacles projected over the surface. The tentacles with their feathers were transformedinto the ambulacral system, and the bulges become the arms. These morphological transformations were accompanied and partly determined by specific histological modifications, such as the development of mutable connective tissues and skeletal elements that fused to ossicles and provided shape stabilization in form of a calcareous skeleton in the body wall. The organism resulted was an ancestral echinoderm (‘Ur-Echinoderm’) with an enlarged metacoel, stabilized by hydraulic pressure working againsta capsule of mutable connective tissue, skeletal elements and longitudinal muscles. In regard to these reconstructions, the body structure of echinoderms can be understood as a hydraulic skeletal capsule. (shrink)

Art design is a visual form and spiritual bearer of culture that ensures universal language for communication between civilizations of the world. Competitiveness of the nation is not only a reflection of its economic power, but what is more important, recognition of its culture. Chinese patterns were used throughout the development of Chinese nation and imparted with spiritual connotations, forming a unique Chinese “culture of ornaments”, which is also an artistic sublimation of Chinese national culture. Lotus pattern is one of (...) the earliest traditional ornaments that emerged in China. Throughout its entire history, it turned into a visual symbol that represents commemoration and aesthetic value of the Chinese traditional culture, having a distinct shape and meaning. This article analyzes the peculiarities of localization of the Ancient Chinese lotus pattern, as well as the question of “folk aesthetics” as the major driving force for the consistent development of the means of creating such images. The author examines the main determinants of the Chinese philosophy of design, highlighting such key factors as the artistic consciousness of the Chinese people, “botanical principle” in visual art, aesthetic perception of symmetry and balance in the image, as well as the peculiarities of historical milestones in the development of Chinese floral ornament. The author summarizes the considered aspects with regards to integration of the traditional and modern design. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On John Hollander’s “Owl”Eleanor CookSuppose we start with grammar, assuming we’ve glanced at the look of “Owl” on the page, as if through the eyes of May Swenson. Here is the way she began to read a poem: “I like to see the poem first as a shut box or package to be opened, within which is an invention whose particular working I hope to discover. Something can be (...) felt about it even before beginning to read: its profile on the page, its regular or irregular pattern of stanzas, length of lines, their symmetry, its wide or thin shape, its look of bulk or lightness.” 1 So here, we observe a one-word title: a noun, no article, and so more like Bishop’s “Sandpiper” than Frost’s “The Oven Bird.” Then quatrains, twenty-four of them, each shorter in its third and more in its fourth line; the pulse iambic and 5 5 4 3 (pentameter twice, tetrameter, trimeter), the rhyme a b a b. Each stanza, in little, looks and listens like an owl, narrowing down to its fourth line, listening to the sounds and silences both—the sounds of the full end-rhymes, assonance, midline rhyming, schematic echoes, and so on; and the silences resonating in the vacant space left by one fewer foot in the third line, then two in the fourth, an effect especially noticeable in the end-stopped lines. This stanza form is (I believe) John Hollander’s own, 2 and it teaches us how to listen better. Owls hunt with their ears as well as their eyes, and with only their ears if necessary.In starting with grammar, I am simply choosing one partner in the dance of grammar, rhetoric, and dialectic that constitutes all writing. I shall touch on lexical questions and two senses of voice, before turning to the heart of the matter, the poem’s figuration and fable, then end [End Page 167] with some remarks on “Owl” as part of all Hollander’s work and also as a poem of our moment.The grammar, then, and first the syntactic variety of the sentences. T. S. Eliot wrote in 1918 that technique is not simply “what may be learned from a manual of prosody. This is making technique easy.... Technique is more volatile; it can only be learned, the more difficult part of it, by absorption. Try to put into a sequence of simple quatrains the continuous syntactic variety of Gautier or Blake....” 3 Something of Hollander’s distinctive voice in both poetry and prose lies in his great command of grammatical structures, including his syntactic variety. “Owl” is strongly predicative in style (note the complex syntax, and the remarkably high use of participles, past and present). The sentences give the effect of generating themselves, especially through their parallel grammatical constructions, where the last term in a double or triple set is likely to be modified by a clause or phrase—the whole sentence ramifying and exfoliating, as if we were watching a zoological or genealogical tree grow under our eyes. [See, for example, the parallel participles in the last line of stanza 4 and stanza 5: “Taking heed... you more than see.” Or consider how one participle leads to another in stanzas 15 through 17, beginning with “Trembling....”]Such syntactic energy gives a quick, vital rhythm to the sentence—a fast pace, given the richness of thought, hints, implications. A pace sometimes slightly nervous, curbing and steadying its own energies, partly through the regular beat of the simple rhyme scheme and quatrain. It seems to me that the forward propulsion of both the grammar and dialectic is steadied, directed, by the rhetorical schemes—that rhetoric here offers what I want to call something like a discipline of simplicity. This is a function we may not associate with rhetorical schemes, those “surface patterns of words” that “carry no meanings per se.” 4 In Roman Jakobson’s terms—and his discussion of parallelism was really the only thing that helped with what I was hearing—what I am hearing is the pull between a regular, simple parallelism of stanza form and a much-varied, complex parallelism of... (shrink)

Plants are considered as archetypes of the ramification phenomenon but numerous elementary processes occur in the elaboration of the shaping of each species. This paper aims to identify the part ascribed to different mechanisms in the morphogenesis of a Thallophyte, the red alga Antihamnion plumula.Agonistic-antagonistic models (Bernard-Weil, 1988) can be applied to this alga whose thallus includes two different kinds of whorls, pleuridian and cladomian. In each whorl the agonistic and antagonistic effects are expressed by the full development (S) of (...) the two branches and by their symmetry rate (R) respectively. Variations in S and R show the existence of particular pleuridian whorls having an intermediary dissymmetry and a rhythmic arrangement similarly to that of the cladomian whorls. A unilateral change of the system (removal of a lateral cladome) induces a transitory destabilisation mainly manifested by the stimulating ascendant flow throughout the thallus. (shrink)

Facial muscle activities are essential for the appearance and communication of human beings. Therefore, exploring the activation patterns of facial muscles can help understand facial neuromuscular disorders such as Bell’s palsy. Given the irregular shape of the facial muscles as well as their different locations, it should be difficult to detect the activities of whole facial muscles with a few electrodes. In this study, a high-density surface electromyogram system with 90 electrodes was used to record EMG signals of facial (...) muscles in both healthy and Bell’s palsy subjects when they did different facial movements. The electrodes were arranged in rectangular arrays covering the forehead and cheek regions of the face. The muscle activation patterns were shown on maps, which were constructed from the Root Mean Square values of all the 90-channel EMG recordings. The experimental results showed that the activation patterns of facial muscles were distinct during doing different facial movements and the activated muscle regions could be clearly observed. Moreover, two features of the activation patterns, 2D correlation coefficient and Centre of Gravity were extracted to quantify the spatial symmetry and the location of activated muscle regions respectively. Furthermore, the deviation of activated muscle regions on the paralyzed side of a face compared to the healthy side was quantified by calculating the distance between two sides of CGs. The results revealed that corr2 of the activated facial muscle region in Bell’s palsy subjects was significantly lower than that in healthy subjects, while CG distance of activated facial region in Bell’s palsy subjects was significantly higher than that in healthy subjects. The correlation between corr2 of these regions and Bell’s palsy [assessed by the Facial Nerve Grading Scale 2.0] was also significant in Bell’s palsy subjects. The spatial information on activated muscle regions may be useful in the diagnosis and treatment of Bell’s palsy in the future. (shrink)