In this paper I argue that in addition to the three generally recognized kinds of de re thought, i.e., perception-based, memory-based and communication-based thought, there is a kind of de re thought, which is based on image and cannot be assimilated to any of these recognized kinds of de re thought. I call it simply image-based de re thought. Although image-based thought shares some similarities with the other kinds of de (...) re thought, it should and can be distinguished from each of them. The focus of this paper is on the distinction between image-based thought and perception-based thought, as it is this distinction that is either overlooked or denied by philosophers who have no difficulty seeing the distinct role of images in our thinking about things in the world. (shrink)

Matthias Smalbrugge compares modern images to plays without a script: while they appear to refer to a deeper identity or reality, it is ultimately the image itself that truly matters. He argues that our modern society of images is the product of a destructive tendency in the Christian notion of the image in general, and Augustine of Hippo's in particular. This insight enables him to decode our current 'scripts' of image. As we live in an increasingly visual (...) culture, we are constantly confronted with images that seem to exist without a deeper identity or reality - but did this referential character really get lost over time? Smalbrugge first explores the roots of the modern image by analysing imagery, what it represents, and its moral state within the framework of Platonic philosophy. He then moves to the Augustinian heritage, in particular the Soliloquies, the Confessions and the Trinity, where he finds valuable insights into images and memory. He explores within the trinitarian framework the crossroads of a theology of grace and a theology based on Neoplatonic views. Smalbrugge ultimately answers two questions: what happened to the referential character of the image, and can it be recovered? (shrink)

In this paper, the most common pepper noise in grayscale image noise is investigated in depth in the median filtering algorithm, and the improved median filtering algorithm, adaptive switching median filtering algorithm, and adaptive polar median filtering algorithm are applied to the OTSU algorithm. Two improved OTSU algorithms such as the adaptive switched median filter-based OTSU algorithm and the polar adaptive median filter-based OTSU algorithm are obtained. The experimental results show that the algorithm can better cope with (...) grayscale images contaminated by pretzel noise, and the segmented grayscale images are not only clear but also can better retain the detailed features of grayscale images. A genetic algorithm is a kind of search algorithm with high adaptive, fast operation speed, and good global space finding ability, and it will have a good effect when applied to the threshold finding of the OTSU algorithm. However, the traditional genetic algorithm will fall into the local optimal solution in different degrees when finding the optimal threshold. The advantages of the two interpolation methods proposed in this paper are that one is the edge grayscale image interpolation algorithm using OTSU threshold adaptive segmentation and the other is the edge grayscale image interpolation algorithm using local adaptive threshold segmentation, which can accurately divide the grayscale image region according to the characteristics of different grayscale images and effectively improve the loss of grayscale image edge detail information and jagged blur caused by the classical interpolation algorithm. The visual effect of grayscale images is enhanced by selecting grayscale images from the standard grayscale image test set and interpolating them with bilinear interpolation, bucolic interpolation, NEDI interpolation, and FEOI interpolation for interpolation simulation validation. The subjective evaluation and objective evaluation, as well as the running time, are compared, respectively, showing that the method of this paper can effectively improve the quality of grayscale image interpolation. (shrink)

The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio (...) Salieri – a musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high. (shrink)

According to the theory Russell defends in The Analysis of Mind, ‘true memories’ (roughly, memories that are not remembering-hows) are recollections of past events accompanied by a feeling of familiarity. While memory images play a vital role in this account, Russell does not pay much attention to the fact that imagery plays different roles in different sorts of memory. In most cases that Russell considers, memory is based on an image that serves as a datum (...) (imagebased memories), but there are other cases in which memory judgment requires an image without being based on it (answer-memories). A good example for the former is when a person, asked what the colour of the sea was last afternoon, recalls an image and forms a judgment on this basis. In the second case she may recognize the sea and entertain a memory image of it without ‘reading off’ the memory judgment from this picture. That is, the image does not prompt but itself is part of the propositional content of answer memories. Since in this latter case the feeling of familiarity is constitutive of the recollection but cannot serve as its explanans, answer memories do not conform to Russell’s account. According to Lindsay Judson this is not a vice of the theory, since Russell never meant to extend it to answer memories. Despite having a certain appeal of benevolence, Judson’s interpretation is not supported by textual evidence. Taking side with David Pears, I will argue that Russell did not properly differentiate between image-based memory and answer memory, and illegitimately extended his theory to the latter. (shrink)

The brain networks underlying human multiple-cue judgment, the judgment of a continuous criterion based on multiple cues, have been examined in a few recent studies, and the ventral precuneus has been found to be a key region. Specifically, activation differences in ventral precuneus (as measured with functional magnetic resonance imaging, fMRI) has been linked to an exemplar-based judgment process, where judgments are based on memory for previous similar cases. What aspects of exemplar-based judgment ventral precuneus (...) supports is however poorly understood. Ventral precuneus is a brain region important for various episodic memory processes, where increased engagement of this region together with the ventromedial prefrontal cortex (vmPFC) and the medial temporal lobes (MTL) during learning have been linked to retrieval success. Several alternatives are plausible, for example that reduced brain activity in ventral precuneus during learning to make exemplar-based judgments could reflect reduced needs for visuo-spatial attention as a function of learning to master the task. The present study used fMRI during a multiple-cue judgment task to gain novel neurocognitive evidence informative for the link between learning-related activity changes in ventral precuneus and exemplar-based judgment. Participants (N = 27) spontaneously learned to make judgments during fMRI, in a multiple-cue judgment task specifically designed to induce exemplar-based processing. Contrasting brain activity during late learning to early learning indeed revealed higher activity in ventral precuneus, the bilateral MTL and the vmPFC. Activity in the ventral precuneus and the vmPFC was found to parametrically increase between each judgment event, and activity levels in the ventral precuneus predicted performance after learning. These results are interpreted such that the ventral precuneus supports the aspects of exemplar-based processes that are related to episodic memory, tentatively by building and retrieving memory representations for judgment. (shrink)

In recent years, the important and fast growth in the development and demand of multimedia products is contributing to an insufficiency in the bandwidth of devices and network storage memory. Consequently, the theory of data compression becomes more significant for reducing data redundancy in order to allow more transfer and storage of data. In this context, this paper addresses the problem of lossy image compression. Indeed, this new proposed method is based on the block singular value decomposition (...) (SVD) power method that overcomes the disadvantages of MATLAB’s SVD function in order to make a lossy image compression. The experimental results show that the proposed algorithm has better compression performance compared with the existing compression algorithms that use MATLAB’s SVD function. In addition, the proposed approach is simple in terms of implementation and can provide different degrees of error resilience, which gives, in a short execution time, a better image compression. (shrink)

In his temporal philosophy based on the writing of Henri Bergson, Gilles Deleuze describes duration ( durée ) as a becoming that endures in time. Reifications of this complex philosophical concept become artistically expressed, I argue, in the form and content of South African artist William Kentridge's series of 'charcoal drawings for projection.' These exhibited art works provide intriguing and illuminating 'philosophical' examples of animated audio-visual media, which expressively plicate distinct images of movement and time. The composition of Kentridge's (...) films at once illuminate a regime of animated 'movement-images' that can trace their aetiological roots to classical forms of film and animation, whilst concurrently folding in complex philosophical expressions of time as duration which invoke the crystalline 'time-image' concepts of philosophers such as Bergson and Deleuze, as well as literary authors like Marcel Proust. Over and above these co-existent regimes of movement and time, Kentridge's artistic technique and exhibition practices further expose a multifarious 'geology' of other embedded time lines that serve to enrich/complicate these temporal expressions. I argue here that diegetic time- and movement-images ostensibly co-exist alongside different 'archaeologies' of time relevant to the context and creation of the artworks. For this reason, the animated drawings formulate intriguing artistic/philosophical expressions that muse on the nature of matter, memory, time and space. (shrink)

. Effective text region extraction and binarization of image embedded text documents on mobile devices having limited computational resources is an open research problem. In this paper, we present one such technique for preprocessing images captured with built-in cameras of handheld devices with an aim of developing an efficient Business Card Reader. At first, the card image is processed for isolating foreground components. These foreground components are classified as either text or non-text using different feature descriptors of texts (...) and images. The non-text components are removed and the textual ones are binarized with a fast adaptive algorithm. Specifically, we propose new techniques for foreground component isolation, text extraction and binarization of text regions from camera captured business card images. Experiments with business card images of various resolutions show that the present technique yields better accuracy and involves low computational overhead in comparison with the state-of-the-art. We achieve optimum text/non-text separation performance with images of resolution 800×600 pixels with an average recall rate of 93.90% and a precision rate of 96.84%. It involves a peak memory consumption of 0.68 MB and processing time of 0.102 seconds on a moderately powerful notebook, and 4 seconds of processing time on a PDA. (shrink)

Purpose. Based on the study of philosophical anthropological concepts, to highlight the project of personality in different historical periods, to reveal the meaning of humanistic issues in the postmodern epoch, to identify the essential features of the image of human of the second half of the XX the beginning of the XXI century. Theoretical basis. The methodological basis of the article is the principles of historicism, integrity, objectivity regarding the mastery of the issue of person’s image in (...) postmodernism. The research applied comparative-historical, culturological, analytical, axiological approaches to reveal the problem of individuality in the second half of the XX the beginning of the XXI century. The theoretical basis of the article consists of scientific works in the field of philosophical anthropology, history, cultural studies, and aesthetics. Originality. The author revealed the peculiarities of transformation of the personality model from antiquity to postmodernism, specified the image of man of the second half of the XX the beginning of the XXI century. Conclusions. The analysis of anthropological ideas of Western philosophy of different ages shows the variety of views about understanding the nature of the person, its complexity and ambiguity. In the epoch of postmodernism humanistic issues are of particular relevance, which is connected with social and political uncertainty, domination of mass consciousness, loss of national and cultural identity. The image of a person of this period is deprived of a solid foundation, it is blurred and relative. The destruction of faith in the absolute in the context of the second half of the twentieth century contributed to the formation of confidence in the interdependence of all things, raised the problem of the personality image to a new ontological level. Orientation in the achievements of European civilization, perception of its anthropological experience, intercultural dialogue contribute to the productive use of the achievements of mankind in order to understand the modern person and to form its adequate image. In its essence, postmodernism does not set the goal to realize a retrospection of subject type. However, separating from the cultural memory the excerpts of ideas about a person, by certain styles and directions, it builds on their formations its own eclectic image of the individual. (shrink)

Short‐term memory in vision is typically thought to divide into at least two memory stores: a short, fragile, high‐capacity store known as iconic memory, and a longer, durable, capacity‐limited store known as visual working memory (VWM). This paper argues that iconic memory stores icons, i.e., image‐like perceptual representations. The iconicity of iconic memory has significant consequences for understanding consciousness, nonconceptual content, and the perception–cognition border. Steven Gross and Jonathan Flombaum have recently challenged the (...) division between iconic memory and VWM by arguing against the idea of capacity limits in favor of a flexible resource‐based model of short‐term memory. I argue that, while VWM capacity is probably governed by flexible resources rather than a sharp limit, the two memory stores should still be distinguished by their representational formats. Iconic memory stores icons, while VWM stores discursive (i.e., language‐like) representations. I conclude by arguing that this format‐based distinction between memory stores entails that prominent views about consciousness and the perception–cognition border will likely have to be revised. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ArtistsJennifer and Kevin McCoy are Brooklyn-based artists who make projects about how our thoughts, experiences, and memories are structured through genre and repetition. In order to focus attention on these structures, they often reexamine classic works of science fiction or television narrative, creating sculptural objects, video projections, or live events from what they find.Their work has been exhibited at The Museum of Modern Art, The Metropolitan Museum of (...) Art, The New Museum (all in New York), and The Renaissance Society (Chicago). International exhibitions include projects at ZKM (Karlsruhe, Germany) and Kunst Werke (Berlin), and a solo exhibition at The British Film Institute (London, UK). Articles about their work have appeared in Art News, Art in America, Artforum, Flash Art, The Wire, dArt International, Spin Magazine, Feed, and The Independent. Installation view and detail images of Double Fantasy 2 (Sex) were shown in the solo exhibition "Directed Dreaming" at Postmasters, New York, March–April 2006. The Double Fantasy image was part of the exhibition "Night Sites" at the Hannover Kunstverein in Hannover Germany, November 2005. Each side of the sculpture has a model of a childhood sex fantasy for each of us. Cameras project large-scale images of it onto the wall, accompanied by a soundtrack. Click for larger view View full resolutionFigure 1.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Cover) Click for larger view View full resolutionFigure 2.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 2) Click for larger view View full resolutionFigure 3.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 16) Click for larger view View full resolutionFigure 4.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 32) Click for larger view View full resolutionFigure 5.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 47) Click for larger view View full resolutionFigure 6.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 63) Click for larger view View full resolutionFigure 7.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 77) Click for larger view View full resolutionFigure 8.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 92) Click for larger view View full resolutionFigure 9.Jennifer and Kevin McCoy, Double Fantasy. "Night Sites," installation view. November 2005 at Hannover Kunstverein, Hannover, Germany(Page 107)Copyright © 2007 The Johns Hopkins University Press... (shrink)

The following thesis is an attempt to find a role for the faculty of memory in Kant's account of the structures of consciousness in the Critique of Pure Reason. The very core of Kant's Critique of Pure Reason is the importance of an unchanging structure of consciousness to which thoughts and experiences can be attributed across time: the transcendental unity of apperception. If it is true, as I maintain, that Kant's project is fundamentally an epistemological, rather than metaphysical one, (...) it follows that the anchor of this project shall be the subject, as one who can know his world in a coherent fashion. Our knowledge of the world, and of ourselves as meaningfully involved therein, depends entirely upon our ability to self-ascribe events and experiences. This ability cannot be gleaned from a theoretically 'raw' experiential base, for there would be no anchor or reference point from which to begin such an epistemological project. It is the productive imagination which provides laws of affinity according to which it is structurally possible to order representations or images which are subject to the form of time in intuition, such that they can be known by the same consciousness as belonging to it, even as that empirical consciousness changes across time. This thesis attempts to demonstrate the transcendental productive memory is in fact a transcendental structure of memory, and that this reading of Kant is bourn out through a subsequent analysis of the Schematism chapter, and the chapter on the Principles of Understanding.Dept. of Philosophy. Paper copy at Leddy Library: Theses & Major Papers - Basement, West Bldg. / Call Number: Thesis2005.B78. Source: Masterss International, Volume: 44-03, page: 1162. Thesis --University of Windsor, 2005. (shrink)

This text was delivered as the laudatory speech on the occasion of Didi-Huberman’s receipt of the Adorno prize in 2015. The influence of Adorno’s work on Didi-Huberman’s methodology is clarified, especially Adorno’s reflections on montage, the essayistic style and the anachronism of time. Didi-Huberman thematizes and analyses anachronism as a specific time structure of images. His works stress the similarity of images with the literary montage technique to develop a comprehensive theory of the readability of images – a practice in (...) which we approach images, based on the combination of voir and savoir, of looking and knowing. Two books, dealing with images and the Holocaust, are specifically exemplary of this approach: Images in Spite of All and Bark. Images in Spite of All calls a halt to one of the crudest erroneous readings of Adorno’s work, since the theorem of the Unspeakable or Unrepresentable always referred to Theodor W. Adorno ; and it is remarkably resistant to nuanced philological–philosophical studies of Adorno’s writings. By attentively considering the conditions in which the four photographs taken in Auschwitz-Birkenau were produced, Didi-Huberman dares to imagine the unimaginable. In this and in his more personal work of Bark, he successfully avoids an impossible reconstruction but instead asks what happened in that other place, in the cultural and our personal and memory. This is the work of ‘readability’ in the Benjaminian sense. (shrink)

The Centered Mind offers a new view of the nature and causal determinants of both reflective thinking and, more generally, the stream of consciousness. Peter Carruthers argues that conscious thought is always sensory-based, relying on the resources of the working-memory system. This system enables sensory images to be sustained and manipulated through attentional signals directed at midlevel sensory areas of the brain. When abstract conceptual representations are bound into these images, we consciously experience ourselves as making judgments or (...) arriving at decisions. However, our amodal propositional attitudes are never actually among the contents of this stream of conscious reflection. Our beliefs, goals, and decisions are only ever active in the background of consciousness, working behind the scenes. They are never themselves conscious.Drawing on extensive knowledge of the scientific literature on working memory and related topics, Carruthers challenges the central assumptions of many philosophers. In addition to arguing that non-sensory propositional attitudes are never conscious, he also shows that they are never under direct intentional control. Written with his usual clarity and directness, The Centered Mind will be essential reading for all philosophers and cognitive scientists interested in the nature of human thought processes. (shrink)

The subject of our article is the identification of cultural codes of Eastern European shtetl towns in the play by Grigory Gorin "Memorial Prayer", the libretto of which was written by the author based on the works of the famous Yiddish writer Sholom Aleichem. The author of the article describes the history and conditions of localization of Jewish culture in Eastern Europe and the Russian Empire, the peculiarities of its transformation, the tragic history of the Jewish theater in the (...) first third of the twentieth century. After the disappearance of the towns and the disuse of the Yiddish language, the preservation of the history of the characteristic everyday and philosophical way of life of the shtetls became the goal of museum figures, historians, writers, playwrights, and artists. In the work, using the example of Tevye the milkman, his family and environment, characteristic images of the inhabitants of small towns, their habitat, types of thinking and actions are revealed. The article uses the methods of historicism in the retrospective of the culture of Shtetl towns, the method of analysis in the identification of Shtetl archetypes, the method of synthesis in the generalization of a set of characteristic cultural codes. The main conclusions of the study are: 1. Eastern European Jewish shtetl towns are small urban-type settlements with a predominantly Jewish population, whose unique culture was determined by the Jewish faith, everyday and religious traditions, the Yiddish language, as well as the localization of residence in a small area. 2. During the period of large-scale social upheavals of the early twentieth century and the subsequent expansion beyond the boundaries of the towns, their unique culture became a mythologeme, the foundation for writers, artists, musicians, and theater figures who emerged from it. One of the milestones in the preservation of this culture was the Jewish theater GOSET, whose existence was tragically cut short in the middle of the twentieth century. 3. The play "Memorial Prayer", written by Grigory Gorin based on the works of Sholem Aleichem and staged at the Lenkom Theater by Mark Zakharov, became the quintessence of the characteristic images of the shtetl, and at the same time the revival of authentic Jewish culture. The author's special contribution is to highlight in the play the images-the archetypes of the Shtetl, which have become cultural markers, or codes of Jewish Yiddish culture. (shrink)

The present paper develops a defense for the representational approach to memory which wilcox and Katz believe leads to logical paradoxes. It is suggested that three of the central arguments of Wilcox and Katz make sense when one ascribes to the representational theory a "human-like" model, rather is based. the fourth major argument of Wilcox and Katz, which in the present article had been labelled the "eliminative' argument, has been shown to confuse ontological assuptions with logical considerations.

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea (...) m and which exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

Participants maneuvered a rat image through a circular region on the computer screen to find a hidden target platform, blending aspects of two well-known spatial tasks. Like the Morris water maze task, participants first experienced a series of learning trials before having to navigate to the hidden target platform from different locations and orientations. Like the dot-location task, they determined the location of a position within a two-dimensional circular region. This procedure provided a way to examine how the number (...) of surrounding cues (1, 2, or 3) affects the memory for spatial location in navigation. Memory performance was better when there were more cues and when targets were close to cues, consistent with the idea that cues bolster fine-grain memory, especially in proximal regions. Early and late measures of bias in memory reflected biases in a direction toward the nearest cue, implicating a cue-based category structure of the navigational space. Collectively, results suggest cue-based spatial memory representations that have been inferred from the dot-location task generalize to a navigation task within a simple, computer-based environment, as demonstrated by the good fits of the spatial model developed for the dot-location task (Fitting, Wedell, & Allen, 2005, 2007). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea (...) m and which exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

Memory for spatial location is typically biased, with errors trending toward the center of a surrounding region. According to the category adjustment model, this bias reflects the optimal, Bayesian combination of fine-grained and categorical representations of a location. However, there is disagreement about whether categories are malleable. For instance, can categories be redefined based on expert-level conceptual knowledge? Furthermore, if expert knowledge is used, does it dominate other information sources, or is it used adaptively so as to minimize (...) overall error, as predicted by a Bayesian framework? We address these questions using images of geological interest. The participants were experts in structural geology, organic chemistry, or English literature. Our data indicate that expertise-based categories influence estimates of location memory—particularly when these categories better constrain errors than alternative categories. Results are discussed with respect to the CAM. (shrink)

Substantial evidence indicates that cognitive training can be efficacious for older adults, but findings regarding training-related brain plasticity have been mixed and vary depending on the imaging modality. Recent years have seen a growth in recognition of the importance of large-scale brain networks on cognition. In particular, task-induced deactivation within the default mode network is thought to facilitate externally directed cognition, while aging-related decrements in this neural process are related to reduced cognitive performance. It is not yet clear whether task-induced (...) deactivation within the DMN can be enhanced by cognitive training in the elderly. We previously reported durable cognitive improvements in a sample of healthy older adults who completed 6 weeks of process-based object-location memory training compared to an active control training group. The primary aim of the current study is to evaluate whether these cognitive gains are accompanied by training-related changes in task-related DMN deactivation. Given the evidence for heterogeneity of the DMN, we examine task-related activation/deactivation within two separate DMN branches, a ventral branch related to episodic memory and a dorsal branch more closely resembling the canonical DMN. Participants underwent functional magnetic resonance imaging while performing an untrained object-location memory task at four time points before, during, and after the training period. Task-induced activation values were extracted for the ventral and dorsal DMN branches at each time point. Relative to visual fixation baseline: the dorsal DMN was deactivated during the scanner task, while the ventral DMN was activated; the object-location memory training group exhibited an increase in dorsal DMN deactivation relative to the active control group over the course of training and follow-up; changes in dorsal DMN deactivation did not correlate with task improvement. These results indicate a training-related enhancement of task-induced deactivation of the dorsal DMN, although the specificity of this improvement to the cognitive task performed in the scanner is not clear. (shrink)

This book is primarily a survey of commonly accepted theories of memory. In the course of the book Locke attempts to show that the traditional theories of memory, that is the Representative and the Realist theories are inadequate because of certain mistaken assumptions adopted by the advocates of these views. For example, both of these theories’ proponents mistakenly assume that remembering is an occurrence, that this occurrence consists in a mental experience in the form of having mental images, (...) and that memory-knowledge is knowledge based on or derived from the memory-experience or the memory-image. These notions are mistaken, Locke claims, because memory consists in immediate knowledge of the past, not in the immediate experience of the past; and memory is a form of knowledge, not a form of quasi-perceptual awareness. The notion that memory is a form of knowledge is considered by Locke to be the standard contemporary account of the nature of memory. It is in these terms that he analyzes the different forms of memory: factual memory, which is defined as retained factual knowledge or knowledge we have possessed before and still possess; practical memory, which is defined as retained practical knowledge or knowledge that consists in possessing certain acquired abilities and skills; and personal memory, which is defined as memory of items that one has experienced for himself. The true test of the contemporary account, as Locke sees it, is whether it allows one to answer affirmatively the question "Is memory reliable?". In the final analysis, however, this seems to be impossible. Generally speaking, one believes that he is entitled to rely on something insofar as it can be established that what is relied upon is normally an accurate guide to the facts of the matter. Nevertheless, if one can never tell when memory is correct, it cannot be established that memory is a reliable guide to anything; thus, one can never be entitled to rely on memories. One solution to this dilemma seems to lie in the suggestion that even if one cannot demonstrate that memory is reliable, this is the simplest and possibly the only plausible assumption to make to explain the plain facts of the human situation. Moreover, one who rejects this pragmatic use of the reliability of memory is committed to saying that knowledge is impossible in any case. If there is no avenue to the past, then there is no assurance that anyone or anything has a past history at all. Without a past history, one has never acquired any information nor any reason for knowing anything, not even about the present. Memory-knowledge, then, is not a matter of simple utility, rather it is a matter of what presuppositions or assumptions have to be made if knowledge is to be possible at all. In effect, Locke sees this as simply a "transcendental argument" for the reliability of memory; that is, an argument that shows that a certain principle has to be accepted as true if a certain form of inquiry is to be possible.—T. L. M. (shrink)

Binding can be described at three different levels: In neuroscience it refers to the integration of single-cell activities to form functional neural assemblies, especially in response to global stimulus properties; in cognitive science it refers to the integration of distributed modular input processing to form unified representations for memory and action, and in consciousness studies it refers to the unity of phenomenal consciousness . To describe and explain the unity of consciousness, detailed phenomenological descriptions of binding at the phenomenal (...) level and clarification of the underlying cognitive and neural mechanisms are required. The disunity of consciousness during dreaming is a fruitful avenue to study phenomenal binding and its mechanisms. The notion of the 'bizarreness' of dreams is closely related to the concept of 'binding': bizarreness can be reconceptualized as referring to different types of unusual combinations of features in the binding of dream images coherently together. The present study concentrates on the representation of human characters and the bizarreness found in these representations. We developed a rating scale that distinguishes different types of bizarreness on the basis of the unusual combinations of elements that are manifested in dream images. The data consisted of 592 dream reports in the home-based dream diaries of 52 students. The results indicate that about half of the human characters appearing in our dreams contain bizarre elements, and that certain types of bizarreness are more frequent than others. Phenomenal features intrinsic to the representation of a person are less frequently bizarre than is the external relation between the person and the context . Thus, binding the local features of a representation coherently together appears to be less prone to errors than binding several different information streams together into a coherent phenomenal model of the world. (shrink)

One important distinction in psychology is between inferences based on associative memory and inferences based on analysis and rules. Much previous empirical work conceive of associative and analytical processes as two exclusive ways of addressing a judgment task, where only one process is selected and engaged at a time, in an either-or fashion. However, related work indicate that the processes are better understood as being in interplay and simultaneously engaged. Based on computational modeling and brain imaging (...) of spontaneously adopted judgment strategies together with analyses of brain activity elicited in tasks where participants were explicitly instructed to perform similarity-based associative judgments or rule-based judgments (n = 74), we identified brain regions related to the two types of processes. We observed considerable overlap in activity patterns. The precuneus was activated for both types of judgments, and its activity predicted how well a similarity-based model fit the judgments. Activity in the superior frontal gyrus predicted the fit of a rule-based judgment model. The results suggest the precuneus as a key node for similarity-based judgments, engaged both when overt responses are guided by similarity-based and rule-based processes. These results are interpreted such that similarity-based processes are engaged in parallel to rule-based-processes, a finding with direct implications for cognitive theories of judgment. (shrink)

Inattentional blindness is described as the failure to perceive a supra-threshold stimulus when attention is directed away from that stimulus. Based on performance on an explicit recognition memory test and concurrent functional imaging data Rees, Russell, Frith, and Driver [Rees, G., Russell, C., Frith, C. D., & Driver, J. . Inattentional blindness versus inattentional amnesia for fixated but ignored words. Science, 286, 2504–2507] reported inattentional blindness for word stimuli that were fixated but ignored. The present study examined both (...) explicit and implicit memory for fixated but ignored words using a selective-attention task in which overlapping picture/word stimuli were presented at fixation. No explicit awareness of the unattended words was apparent on a recognition memory test. Analysis of an implicit memory task, however, indicated that unattended words were perceived at a perceptual level. Thus, the selective-attention task did not result in perfect filtering as suggested by Rees et al. While there was no evidence of conscious perception, subjects were not blind to the implicit perceptual properties of fixated but ignored words. (shrink)

Extensive literatures exist on the epistemology of testimony, memory, and perception, but for the most part these literatures do not systematically consider the extent of the analogies between the three epistemic sources. A number of the same problems reappear in all three literatures, however. Dealing simultaneously with all three sources and making a careful accounting of the analogies and disanalogies between them should therefore avoid unnecessary duplication of effort. Other than limits on the scope of which memorially- and testimonially- (...) class='Hi'>based beliefs should be included in the Parity Thesis, I argue that most of the disanalogies that different philosophers have proffered between the sources do not mark distinctions among the universes of possible testimonially-, memorially-, and perceptually-based beliefs regarding the explanation of those beliefs' epistemic status. I first criticize the suggestion that perception is a generative epistemic source, while testimony and memory are not; I propose and defend counterexamples in which testimony and memory produce new beliefs. Next, I criticize a variety of distinctions that have been drawn between testimony and perception, taken chiefly from the reductionist-antireductionist literature on testimony. I criticize the suggestion that the conceptualization of content and the transparency of experience affect the epistemologies of testimony and perception in different ways. Regarding memory and testimony, I advocate modeling testimony on the legal relationship of a principal and an agent, arguing that law's apparatus used to analyze such situations suggests that using others' epistemic services in testimony will supply the same epistemic benefits and burdens as if we had performed those epistemic tasks personally and then relied only on memory. I apply this analysis to the transmission of defeaters in testimony. I argue that memory does feature the epistemic equivalent of a perceptual image and that both perceptually- and memorially-based beliefs can concern either the past or the present. Finally, I construct a set of six transformations that turn individual possible instances of perceptually-, memorially-, or testimonially-based beliefs into individual possible instances of the other two types of beliefs without changing the structure of those beliefs' epistemologies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea (...) m and which exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea (...) m and which exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ideas in the Brain: The Localization of Memory Traces in the Eighteenth CenturyTimo KaitaroPlato suggests in the Theaetetus that we imagine a piece of wax in our soul, a gift from the goddess of Memory. We are able to remember things when our perceptions or thoughts imprint a trace upon this piece of wax, in the same manner as a seal is stamped on wax. Plato uses (...) this metaphor to explain the errors which arise when we mistake something for something else: we connect the perception of an object with the trace belonging to another. The metaphor can also be used in explaining differences in people’s mnestic capacities: rapid learning and forgetting correspond to soft wax, impure wax results in muddled traces, etc.1 If we locate the traces in the brain instead of in the soul, Plato’s metaphor gains consistency and turns into a testable hypothesis. This move was already made by Quintilian.2So, the metaphor of memory as traces in the brain is evidently not a modern invention. This is easy to understand. To frame the hypothesis one needs only to reflect on how we use objects outside our brains for mnemonic purposes. We conserve ideas by tracing or printing letters and words on paper. We are also able to conserve images in drawings, paintings and prints. What could be more natural than to think of memory as the formation of traces in the brain? The development of even better information storage techniques in the form of pictures, symbols, and signs provides the metaphor extra plausibility. Plato’s seal allows us to imagine the imprint of a person’s likeness, but modern techniques of information storage and retrieval make it even easier to imagine memory in general as the formation of material traces.Explaining memory in terms of material traces could, of course, be taken [End Page 301] to mean that the formation of material traces in the brain is merely a necessary condition of memory. But one could also take a more reductionistic stance which identifies memory with the formation of material traces. Furthermore, one could identify specific mental items (sensations, ideas, memories) with specific physiological events or anatomical entities in the brain. This seems especially plausible if we imagine that the traces in the brain are as discrete and separate as ideas or memories are in our minds. Since the traces we form or print on paper consist of discrete letters and words, the thought that the traces in the brain are equally discrete and separate comes easily. Plato, in fact, made separateness a condition for the memory to work properly: it is not easy to read signs printed on one another.3 Of course, no traces are actually visible in the brain. But they are easy to imagine, as it is to imagine explanations of psychological phenomena, such as association, based on these traces.At the end of the seventeenth century, explanations of mental phenomena referring to material traces in the brain were used by writers, from Platonists to materialists, who supported widely different theories about the nature of the human mind.4 In fact, as I will show later in this paper, the question of the possible identity of mental entities, like ideas or sensations, with material entities or traces in the brain is relatively independent of the question of the existence of an immaterial soul. Or rather, if there is a systematic connection between the answers proposed to these two questions in the eighteenth century, it is not the connection one would expect. Nowadays we often tend to think of a prototypical materialist as someone who makes radical reductionistic claims about the identity of mental phenomena with brain states. We also tend to think of the eighteenth-century French materialists as “mechanistic.”5 In view of this reputation, it may come as a surprise to find that some eighteenth-century materialists, notably Denis Diderot, were in fact consistent anti-reductionists and opposed to mechanical or mechanistic explanations of the mental.6 In fact, the epithet “mechanistic” is misleading even when applied to the philosopher who is traditionally presented as the paradigmatic example of a “mechanistic materialist,” Julien Offray... (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

Introduction: There is significant overlap in the type of structural language impairments exhibited by children with autism spectrum disorder and children with attention deficit hyperactivity disorder. This similarity suggests that the cognitive impairment contributing to the structural language deficits in ASD and ADHD may be shared. Previous studies have speculated that procedural memory deficits may be the shared cognitive impairment. The procedural deficit hypothesis argues that language deficits can be explained by differences in the neural structures underlying the procedural (...) memory network. This hypothesis is based on the premise that the neural structures comprising the procedural network support language learning. In this study, we aimed to test the PDH in children with ASD, ADHD, and typical development.Methods: One hundred and sixty-three participants : 91 with ASD, 26 with ADHD, and 46 with TD, completed standardized measures of cognitive and language ability as well as structural magnetic resonance imaging. We compared the structural language abilities, the neural structures underlying the procedural memory network, and the relationship between structural language and neural structure across diagnostic groups.Results: Our analyses revealed that while the structural language abilities differed across ASD, ADHD, and TD groups, the thickness, area, and volume of the structures supporting the procedural memory network were not significantly different between diagnostic groups. Also, several neural structures were associated with structural language abilities across diagnostic groups. Only two of these structures, the inferior frontal gyrus, and the left superior parietal gyrus, are known to be linked to the procedural memory network.Conclusions: The inferior frontal gyrus and the left superior parietal gyrus, have well-established roles in language learning independent of their role as part of the procedural memory system. Other structures such as the caudate and cerebellum, with critical roles in the procedural memory network, were not associated with structural language abilities across diagnostic groups. It is unclear whether the procedural memory network plays a fundamental role in language learning in ASD, ADHD, and TD. (shrink)

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:166, FLAGE ON HUME'S ACCOUNT OF MEMORY In the Treatise Hume writes that an impression which "has been present with the mind" may "make its appearance there as an idea," and that it can appear either through the faculty of memory or the faculty of the imagination. Memory and imagination each produces its own species of idea. In "Hume on Memory and 2 Causation" Daniel (...) Flage addresses Hume's carving out of these two species. Flage's main purpose is to show that Hume has a criterion for distinguishing memory ideas from others. I will argue that Flage has not located necessary and sufficient conditions for memory in Hume's discussion of memory. I will show that if Hume intended to provide a criterion at all, it is not the criterion Flage attributes to him, and that the criterion Flage has formulated is not an improvement over what appears to be Hume's criterion. Before looking at the details of Flage's interpretation I want to mention briefly an underlying assumption of the paper. The assumption is that Hume believes that there must be a clear distinction between memories and other perceptions. The assumption is supported by the fact that Hume speaks of the species of memory. However, there is textual evidence against this assumption. In the Treatise Hume emphasizes the ways in which memories are like other perceptions. For example, Hume calls memories impressions, while in distinguishing impressions from ideas he introduces 3 memories as paradigm examples of ideas. The reason Hume calls memories impressions, I believe, is that for the purpose of inference, he takes memories to be equivalent to impressions of sense. Since Hume is willing to put memories in two seemingly incompatible categories, perhaps his primary concern is with the role they play in belief; we make causal inferences 167. from memory and sense, not from the imagination. That Hume's primary concern is with inference, and not with memory per se, is supported by the fact that both Treatise sections devoted to memory are followed by 4 sections which deal with causal inference. Hume thinks that we cannot always distinguish memories from other perceptions "in their operation." It is not clear that he thinks that there must be a sharp distinction at all, since the traditional epistemological purpose for such a distinction, to partition the veridical from the non-veridical, is not obviously Hume's purpose. However, Flage claims that there is a clear criterion of memory in the Treatise. Let's take a look at what he has found. Flage maintains that Hume has both a phenomenal criterion based on vivacity which allows us in a rough and ready way to distinguish memories from imaginings "in their operation," and a formal criterion which "provides one with insight into the complex structure of an idea of memory." (p. 169) The phenomenal criterion does not distinguish memory ideas from others, since, as Hume himself allows, non-memories (e.g. beliefs, delusions, even ideas of the imagination) can have the same vivacity as memories. (Cf. T86) The marking off of memory as a distinct species is accomplished, on Flage's view, by the formal criterion. Hume writes "The chief exercise of the memory is not to preserve the simple ideas, but their order and position." (T9) This is what Flage calls Hume's formal criterion, and Flage takes it as both necessary and sufficient for being a memory idea. Flage takes memory ideas to be what he calls relative ideas, ideas which pick out or refer to a unique item. A memory idea, on this view, is a complex idea which uniquely picks out the antecedent complex 168, impression which resembles and is the cause of the idea. Flage writes: The formal criterion is basically a causal thesis: if a particular positive idea (mental image) is a genuine idea of the memory, then at some point in the past there was a complex impression that was the cause (or the original cause) of and exactly (or closely) resembles that positive idea as an idea. (p. 172) In this formulation the criterion is a necessary condition of memory. In a subsequent formulation Flage claims its sufficiency as... (shrink)

Drawing on the social exchange theory, this study adopted a cross-level framework to investigate the influence of consumer group communication on consumer product image perception and brand memory. In addition, this paper examined the moderating role of consumer group involvement in the cross-level relationship between consumer group communication and consumer product image perception. Based on a sample of 116 groups and 530 consumers, results revealed that consumer group communication has a significant positive influence on brand (...) class='Hi'>memory formation across levels. Consumer product image perception plays a cross-layer mediated role between consumer group communication and brand memory. Group involvement plays a cross-level negative moderating role between consumer group communication and consumer product image perception, and moderates the mediating role of consumer product image perception between consumer group communication and consumer brand memory across different levels. Finally this paper discussed implications for research and practice. (shrink)

It is known that properties of words such as their imageability can influence our ability to remember those words. However, it is not known if other object-related properties can also influence our memory. In this study we asked whether a word representing a concrete object that can be functionally interacted with would enhance the memory representations for that item compared to a word representing a less manipulable object . Here participants incidentally encoded high-manipulability and low-manipulability words while making (...) word judgments. Using a between-subjects design, we varied the depth-of-processing involved in the word judgment task: participants judged the words based on personal experience , word length , or functionality . Participants were able to remember high-manipulability words better than low-manipulability words in both the personal experience and word length groups; thus presenting the first evidence that manipulability can influence memory. However, we observed better memory for low- than high-manipulability words in the functionality group. We explain this surprising interaction between manipulability and memory as being mediated by automatic vs. controlled motor-related cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 41-50 [Access article in PDF] Encounter Between Hyper-Media and Art Education:A Retrospection of Jean-Jacques Rousseau or Memories of Art and EducationToday both art and education are experiencing profound change as a result of emerging technologies. This essay attempts to redefine art education by considering the latest media art as the culmination of change in art. Statements about art education are only viable (...) in the meta-context of art, as art education must start with the work to objectify, as well as structure, "art." Atthe same time, these meta-statements can cast light on the "foundation" of art.Attempts to view the totality of art up to the present time from the "end" of history (meta) and questioning of the "beginning" of art and mankind (foundation) are two sides of the same phenomenon.Media art is an example of this phenomenon which reflects both the meta-context and foundation of art. For example, the work of Jean-Louis Boissier boasts both a radical as well as refined image. 1 His exhibition, "Salle Rousseau" further extends the scale of his conventional work based on the texts of Jean-Jacques Rousseau. 2 This essay revises the text written for the catalogue for the exhibition and aims at analyzing the close relationship between media art and art education, sketching the phases of [End Page 41] meta-statements and foundations which emerge as a result of the interaction of art, media, and education. A Place for Retrospection Boissier's work is well-known for its references to Rousseau. Having been involved in art education, it was natural for me to develop a strong interest in Rousseau, whom I consider to be a founder of modern art and education. The fact that the Boissier's exhibition was held at the "Kyoto Art Centre" in Muromachi, Kyoto supports this belief. Kyoto was the first place in Japan where primary schools based on the school district system were introduced. The Kyoto Art Centre is located at the former Meirin Primary School which was founded at the dawn of modern Japanese education. In its turn, Meirin Primary School succeeded Shingaku-juku. 3 Thus, the location for the BoissierExhibition, dating back to the very beginning of education in Japan, is a place that encourages reflection on the past.While Boissier recollects Rousseau with his unique interactive texts, Rousseau recollects his own past. We, the spectators, are immersed in multiple layers of memories and recollections. Sometimes, however, Rousseau's recollections break through the intricacy and multiple layers and appear to achieve a rapport with the people and flowers which once existed. I have long been attracted by the fresh literal expressions particularly evident in "The Confessions" and other works. The beauty of such expressions must have been born from his affectionate view of nature as illustrated by his hobby of plant collection. View of Nature I cannot help recalling Rousseau whenever I think about the relationship between nature and mankind. Rousseau was a person who could talk beautifully about the direct relationship between nature and mankind. In his writings of "Les riveries du promeneur solitaire" and "Quoted Passage," Rousseau recollects his peaceful life on St. Pierre Island in Lake Bieler in Switzerland where he spent nearly one and a half months after being deported from France as well as his hometown, Geneva because of problems caused by the publication of The Social Contract and Emile. For me, this text is inseparable from the looped image of shallow water which forms the background of the work entitled Flora petrinsularis (1993 and 1994) by Boissier.The beautiful text by Rousseau captivates us without any external help and, at the same time, shows what nature meant to him. The relationship with nature described here is the food as well as foundation of his life. This attitude of accepting nature in the deepest part of his mind is pure agreement with nature as pointed out by Jean Starobinski and represents an experience of fusion... (shrink)

Accurate and rapid defect identification based on pulsed eddy current testing plays an important role in the structural integrity and health monitoring of in-service equipment in the renewable energy system. However, in conventional data-driven defect identification methods, the signal feature extraction is time consuming and requires expert experience. To avoid the difficulty of manual feature extraction and overcome the shortcomings of the classic deep convolutional network, such as large memory and high computational cost, an intelligent defect recognition pipeline (...) based on the general Warblet transform method and optimized two-dimensional DCNN is proposed. The GWT method is used to convert the one-dimensional PECT signal to a 2D grayscale image used as the input of 2D DCNN. A compound method is proposed to optimize the baseline VGG16, a well-known DCNN, from four aspects including reducing the input size, adding batch normalization layer after every convolutional layer and fully connection layer, simplifying the FCs, and removing unimportant filters in Convs so as to reduce memory and computational costs while improving accuracy. Through a pulsed eddy current testing experiment considering interference factors including liftoff and noise, the following conclusion can be obtained. The time-frequency representation obtained by the GWT method not only has excellent ability in terms of the transient component analysis but also is less affected by the reduction of image size; the proposed optimized DCNN can accurately identify defect types without manual feature extraction. And compared to the baseline VGG16, the accuracy obtained by the optimized DCNN is improved by 7%, to about 99.58%, and the memory and computational cost are reduced by 98%. Moreover, compared with other well-known DCNNs, such as GoogLeNet, Inception V3, ResNet50, and AlexNet, the optimized network has significant advantages in terms of accuracy and computational cost, too. (shrink)

In this modern world, a massive amount of data is processed and broadcasted daily. This includes the use of high energy, massive use of memory space, and increased power use. In a few applications, for example, image processing, signal processing, and possession of data signals, etc., the signals included can be viewed as light in a few spaces. The compressive sensing theory could be an appropriate contender to manage these limitations. “Compressive Sensing theory” preserves extremely helpful while signals (...) are sparse or compressible. It very well may be utilized to recoup light or compressive signals with less estimation than customary strategies. Two issues must be addressed by CS: plan of the estimation framework and advancement of a proficient sparse recovery calculation. The essential intention of this work expects to audit a few ideas and utilizations of compressive sensing and to give an overview of the most significant sparse recovery calculations from every class. The exhibition of acquisition and reconstruction strategies is examined regarding the Compression Ratio, Reconstruction Accuracy, Mean Square Error, and so on. (shrink)

England, known as “the empire without sun settling down” and being among the final winners of the World War I (1914-1918), had one of the heaviest defeats of its history against the Ottoman Empire in the Kut al-Amara, which happened on 29 April 1916 close to Baghdad. Following the defeat of Kut al-Amara, which was the most important war trauma for England during the World War I, the Turks and Germans, as winner side of the battle were evaluated by British (...) prisoners from military, political, cultural and socio-psychological aspects in their memories. Content analysis method is used in the article for qualitative evalution of the data related to the Turkish and German image reflected in the memories of British prisoners after the siege of Kut al-Amara. The alliance between Turks and Germans is regarded as contrast in terms of important elements as national and ethnic identity, language, religion and culture in the main sources of the research as My Compain by Charles Townshend, Besieged in Kut and After by Barber, A Kut Prisoner by Bishop, In Kut and Captivity with the Sixth Indian Division by Sandes, The Secrets of a Kuttite by Mousley which occationally use exaggerated language and the subjective information due to the impact of traumatic defeat.Summary: Being a heroic epic in the war history of Turkey, Kūt al-‘Amāra has been the subject of very fewer researches until recently, despite its importance in Turkey’s history. This argument is supported by the fact that the memoirs by Ottoman soldiers related to the WWI, which also encompass information about Kūt al-‘Amāra, were published half a century after the war at the earliest. Unlike the records of Turkish soldiers participating in Kūt al-‘Amāra, the memoirs and the war diaries of British soldiers were published shortly after the war, as early as possible, between the years of 1918-1921. The authors of these memoirs and war diaries informed the public on the reasons for the defeat of Kūt al-‘Amāra on the one hand, and on the other hand created the Ottoman and Turkish image which was concidered differently in the British society in terms of culture and civilization. They also strengthened this image over that of German’s, with whom they shared many common values despite the fact that they represented the opposite fronts of the war.It is worthy mentioning that the role of the Ottoman army in the victory of Kūt al-‘Amāra was highly underestimated by the memoirs of the British prisoners. According to the authors, it is not the Turkish army that has achieved real victories over the British, but Germany’s support, notably General von der Goltz, the great strategist of Europe. The effects of bad weather conditions and geographical situation are also emphasized among the reasons of the defeat of Kūt al-‘Amāra. Consequently, the success of the Turkish army in the victory of Kūt al-‘Amāra was ignored, except for the role of Halil Pasha. The image of an army that knows the trench and defence techniques well, but fails to attack is one of the prominent evaluations in the memoirs related to the Turkish military characteristics.The British prisoners of war, who evaluate the Turkish and German image through the economic and political situation, draw a very desperate picture of the situation of the Turks in the mentioned areas. According to this image, corruption and bribery prevails at every stage of the Turkish government. The Turks are unable to repay their dept to Germany, which dominates the economy of the country completely. According to these records, besides ordinary people, the army is also facing great difficulties in meeting basic requirements. To convert the Ottoman Empire into their own property and keep the Turks under their control in military, economic and political spheres, the Germans lend a high amount of money.On the basis of Turkish soldiers encountered in Kūt al-‘Amāra, the British prisoners characterizes the Turks as physically large, hard and strong-bodied people. The authors also note that the Turks are not as cold-blooded, calm and obedient as they seem at first sight, rather they become rude people when they get angry. Another feature that British prisoners evaluate as a potential of the Turks, is their childish spirit. In as much as they are happy with small things and can be offended by small things. According to the memoirs, the Germans should not be allowed to benefit from these characteristics of the Turks, but the British should take the advantage of their potential power.The moral characteristics of the Turks and the Germans are among the most emphasized subjects. Written in exceptional time such as war, sometimes the diaries include exaggerated and sentimental phrases related to the moral attitudes enemy soldiers exhibited during siege, as well as captivity. Turks are regarded as negligent and careless rather than cruel or ruthless. They owe these characteristics to their Eastern identity, which is different from the Europeans having virtues such as task responsibility and diligence. The moral characteristic of the Turks regarding the duty, responsibility and kindness is evaluated comparatively with the civilized and humanistic behaviors of the Germans towards the prisoners. Being Europeans, the Germans often come to the fore because of their more polite treatment towards the British prisoners. Although the Germans as an enemy fought against the British on the front, they were kind to them in the Ottoman territories as the only civilized people among the barbarian peoples of the East.The Turks and the Germans are compared in the field of education, as well as other areas of development. The authors emphasize that the education level of the Turks is very low; Armenian and Greek subjects of the Empire are its brain and financial resources, which is the reason why the Turks are anxious about them. The Germans have the superiority in both transportation and communication technology in the Ottoman territories. One of the reasons they had a huge investment on the Ottoman territories is the Berlin-Istanbul-Baghdad-Basra railway. The British prisoners give details on the German communication technology they encountered during both the battle and the captivity days in Anatolia. In addition to the transport and communication technology, they also record much German-made military equipment, from weapons to maps.Evaluating the Turks and the Germans as opposites, the British prisoners draw an image for the latter, with whom they share a common cultural legacy, as a fully equipped enemy in terms of technology and strategy on the front, and the civilized Europeans characterized with their virtue in non-war situations. On the contrary, the Turks are described as a strong defender and daredevil soldiers on the front line, but strategically weak on the front. In terms of duties and responsibilities, the Turkish soldiers are presented with negligent and irresponsible approach towards their prisoners. The images of the Turks and the Germans, which are compared by the British prisoners, are often based on their Eastern and Western identity. The Turks symbolize the East with economic, political and cultural backwardness, yet quite the contrary, the Germans symbolize the West in terms of development, modernity and civilization. The British prisoners sometimes used exaggerated expressions in their approaches regarding both sides, as well as different details in terms of information and interpretation about the same event, due to the trauma of defeat. (shrink)

How linguistic structures evolve so as to become easier to process is addressed by Isbilen and Christiansen for the Now‐or‐Never bottleneck. The authors suggest that this fundamental challenge in language processing is coped with by rapid compression of the transient linguistic input into chunks then to be passed on. As linguistic structures that can be chunked more easily tend to stabilize and proliferate, language evolves to fit learners’ cognitive capabilities.

Combining images with music is a music visualization to deepen the knowledge and understanding of music information. This study briefly introduced the concept of music visualization and used a convolutional neural network and long short-term memory to pair music and images for music visualization. Then, an emotion classification loss function was added to the loss function to make full use of the emotional information in music and images. Finally, simulation experiments were performed. The results showed that the improved deep (...) learning-based music visualization algorithm had the highest matching accuracy when the weight of the emotion classification loss function was 0.2; compared with the traditional keyword matching method and the nonimproved deep learning music visualization algorithm, the improved algorithm matched more suitable images. (shrink)

From the end of 2018 in China, the Big-data Driven Price Discrimination (BDPD) of online consumption raised public debate on social media. To study the consumers’ attitude about the BDPD, this study constructed a semantic recognition frame to deconstruct the Affection-Behavior-Cognition (ABC) consumer attitude theory using machine learning models inclusive of the Labeled Latent Dirichlet Allocation (LDA), Long Short-Term Memory (LSTM), and Snow Natural Language Processing (NLP), based on social media comments text dataset. Similar to the questionnaires published (...) results, this article verified that 61% of consumers expressed negative sentiment toward BDPD in general. Differently, on a finer scale, this study further measured the negative sentiments that differ significantly among different topics. The measurement results show that the topics “Regular Customers Priced High” (69%) and “Usage Intention” (67%) occupy the top two places of negative sentiment among consumers, and the topic “Precision Marketing” (42%) is at the bottom. Moreover, semantic recognition results that 49% of consumers’ comments involve multiple topics, indicating that consumers have a pretty clear cognition of the complex status of the BDPD. Importantly, this study found some topics that had not been focused on in previous studies, such as more than 8% of consumers calling for government and legal departments to regulate BDPD behavior, which indicates that quite enough consumers are losing confidence in the self-discipline of the platform enterprises. Another interesting result is that consumers who pursue solutions to the BDPD belong to two mutually exclusive groups: government protection and self-protection. The significance of this study is that it reminds the e-commerce platforms to pay attention to the potential harm for consumers’ psychology while bringing additional profits through the BDPD. Otherwise, the negative consumer attitudes may cause damage to brand image, business reputation, and the sustainable development of the platforms themselves. It also provides the government supervision departments an advanced analysis method reference for more effective administration to protect social fairness. (shrink)

In responding to an essay by Marianne Hirsch and Leo Spitzer about photographs taken in the streets of Chernivitsi in the 1940s, and thus in the midst of the Holocaust, this paper seeks to link their concerns to a broader consideration of photography as a modern phenomenon. In the process, the paper provides a brief history of street photography, a genre virtually ignored in standard histories of the photographic medium. The author suggests that Hirsch and Spitzer’s paper bravely reminds us (...) that our fascination with photographs is based not on truth, but on a combination of desire and faith . Their account of street photography in Czernowitz thereby amounts to an interpretation of photographs as dynamic modes of apprehension rather than as static objects from the past that veridically represent it. It is precisely this aspect of photographs that makes them such unusually complicated, ambiguous, and incongruous historical objects. (shrink)

본고는 딥러닝의 이미지 인식 원리와 유아의 이미지 인식 원리를 종합하면서, 이미지-개념 학습을 위한 새로운 교수학습모델, 즉 “베이지안 구조구성주의 교수학습모델”(Bayesian Structure-constructivist Teaching-learning Model: BSTM)을 제안한다. 달리 말하면, 기계학습 원리와 인간학습 원리를 비교함으로써 얻게 되는 시너지 효과를 바탕으로, 유아들의 이미지-개념 학습을 위한 새로운 교수 모델을 구성하는 것을 목표로 한다. 이런 맥락에서 본고는 전체적으로 3가지 차원에서 논의된다. 첫째, 아동의 이미지 학습에 대한 역사적 중요 이론인 “대상 전체론적 가설”, “분류학적 가설”, “배타적 가설”, “기본 수준 범주 가설” 등을 역사 비판적 관점에서 검토한다. 둘째, 컴퓨터 공학에서 (...) 전개된 머신러닝의 이미지 학습 원리 및 그 구조의 역사적 변형들에 대해서 비판적으로 분석하면서, 특히 딥러닝의 교육 인식론적 의미를 도출한다. 셋째, 선행하는 논의들을 토대로 이미지와 개념을 연결시키는 학습, 즉 단어학습을 위한 필자의 고유한 이론인 구조구성주의 개념교수모델을 제안한다. 이때 필자는 피아제의 명제논리학적 학습 가설, 즉 논리-수학적 구조를 중시하는 기존의 피아제 학파의 학습 가설과 최근의 베이지안 학습 이론에서 강조된 확률론적 추론 가설, 특히 “교육학적 추론 가설”을 동시에 포함할 수 있는 교수학습모델의 구조 및 주요 지향점들을 제안한다. (shrink)