Evidence from visual-search experiments is discussed that indicates that there is spatially parallel encoding based on three-dimensional (3-D) spatial relations between complex image features. In one paradigm, subjects had to detect an odd part of cube-like figures, formed by grouping of corner junctions. Performance with cube-like figures was unaffected by the number of corner junctions present, though performance was affected when the corners did not configure into a cube. It is suggested from the data that junctions can be grouped (...) to form 3-D shapes in a spatially parallel manner. Further, performance with cube-like figures was more robust to noncollinearity between junctions than was performance when junctions grouped to form two-dimensional planes. In the second paradigm, subjects searched for targets defined by their size. Performance was affected by a size illusion, induced by linear-perspective cues from local background neighbourhoods. Search was made more efficient when the size illusion was consistent with the real size difference between targets and nontargets, and it was made less efficient when the size illusion was inconsistent with the real size difference. This last result occurred even though search was little affected by the display size in a control condition. We suggest that early, parallel visual processes are influenced by 3-D spatial relations between visual elements, that grouping based on 3-D spatial relations is relatively robust to noncollinearity between junctions, and that, at least in some circumstances, 3-D relations dominate those coded in two-dimensions. (shrink)

The cortical visual mechanisms involved in processing spatial relationships remain subject to debate. According to one current view, the ''dorsal stream'' of visual areas, emanating from primary visual cortex and culminating in the posterior parietal cortex, mediates this aspect of visual processing. More recently, others have argued that while the dorsal stream provides egocentric coding of visual location for motor control, the separate ''ventral'' stream is needed for allocentric spatial coding. We have assessed the (...) class='Hi'>visual form agnosic patient DF, whose lesion mainly affects the ventral stream, on a prehension task requiring allocentric spatial coding. She was presented with transparent circular disks. Each disk had circular holes cut in it. DF was asked to reach out and grasp the disk by placing her fingers through the holes. The disks either had three holes (for forefinger, middle finger, and thumb) or two holes (for forefinger and thumb). The distance between the forefinger and thumb holes, and the orientation of the line formed by them, were independently varied. DF was quite unable to adjust her grip aperture or her hand orientation in the three-hole task. Although she was able to orient her hand appropriately for the two-hole disks, she still remained unable to adjust her grip aperture to the distance between the holes. These findings are consistent with the idea that allocentric processing of spatial information requires a functioning ventral stream, even when the information is being used to guide a motor response. (shrink)

Diffusions in Architecture: Artificial Intelligence and Image Generators delves into the impact of Diffusion AI algorithms and generative image models on architecture design and aesthetics. The book presents an in-depth analysis of how these new technologies are revolutionizing the field of architecture. The architects presented in the book focus on the application of specific AI techniques and tools used in generative design, such as Diffusion models, Dall-E2, Stable Diffusion, and MidJourney. It discusses how these techniques can generate synthetic images that (...) are both realistic and imaginative, creating new possibilities for architectural design and aesthetics. This comprehensive overview of the impact of Diffusion AI algorithms and generative image models on the field of architecture shows how they are changing the way architects approach their work. With a foreword by Lev Manovich—artist, writer and one of the world's most influential digital culture theorists. Sharing the work and insights of a team of designers and theorists from a range of backgrounds, offering disciplinary depth, and covering the full impact of these tools and models on architecture, Diffusions in Architecture includes information on: Fresh perspectives on design and aesthetics, with designs, images, and commentary from 22 leading architects, theorists, and designersThe potential of prompt engineering and text-to-image models applicable to a broad interdisciplinary audienceWhether image generators, or AI in general, will be an aid for human design, or potentially displace humans from the market fundamentals of a larger debate in the architectural discourse (and practice) on the use of image generatorsCollecting the different ideas that have emerged in the field, Diffusions in Architecture provides architects, designers, concept artists, and theorists with an overview of this cornucopia of architectural imaginations produced in a common effort between humans and artificial intelligence. (shrink)

Since the fourteenth century, Eastern Woodlands tribes have used delicate purple and white shells called “wampum” to form intricately woven belts. These wampum belts depict significant moments in the lives of the people who make up the tribes, portraying everything from weddings to treaties. Wampum belts can be used as a form of currency, but they are primarily used as a means to record significant oral narratives for future generations. In Reading the Wampum, Kelsey provides the first academic consideration of (...) the ways in which these sacred belts are reinterpreted into current Haudenosaunee tradition. While Kelsey explores the aesthetic appeal of the belts, she also provides insightful analysis of how readings of wampum belts can change our understanding of specific treaty rights and land exchanges. Kelsey shows how contemporary Iroquois intellectuals and artists adapt and reconsider these traditional belts in new and innovative ways. Reading the Wampum conveys the vitality and continuance of wampum traditions in Iroquois art, literature, and community, suggesting that wampum narratives pervade and reappear in new guises with each new generation. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is (...) an external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is (...) an external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 481-509.

The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous (...) studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code. The main conclusions of the study are: 1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud. 2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed. 3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea. The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured. (shrink)

Contemporary artworks are primary sources for a better understanding of the most important issues in our current reality. The complexities of cultural interactions are often thematized in pieces of art using the artistic means of code-switching, and where the investigation of these questions is pursued in and with regards to the issues of the broader context, including the built and the urban setting. In this paper I examine some aspects of these questions, with the help of some inspiring examples, through (...) artworks by creators coming from five different parts of the world: hence in the works by Manit Sriwanichpoom, Nandipha Mntambo, Michael Rakowitz, Yinka Shonibare, and Marja Helander. In this way I aim to emphasize the global relevance of these issues, as well as what we can thus learn from and about our own origins, current standpoints, and further possibilities. (shrink)

In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches—careful, philosophical description of experience and the science of vision—independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as (...) being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book. Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously. (shrink)

First, we discuss issues raised with respect to the Theory of Event Coding (TEC)'s scope, that is, its limitations and possible extensions. Then, we address the issue of specificity, that is, the widespread concern that TEC is too unspecified and, therefore, too vague in a number of important respects. Finally, we elaborate on our views about TEC's relations to other important frameworks and approaches in the field like stages models, ecological approaches, and the two-visual-pathways model. Footnotes1 We acknowledge the (...) precedence of both Freud¹s Instincts and Their Vicissitudes (1915) and Neisser¹s Stimulus Information and Its Vicissitudes (a term Neisser borrowed from Freud for his monograph “Cognitive psychology,” 1967). (shrink)

To learn a visual code in an unsupervised manner, one may attempt to capture those features of the stimulus set that would contribute significantly to a statistically efficient representation. Paradoxically, all the candidate features in this approach need to be known before statistics over them can be computed. This paradox may be circumvented by confining the repertoire of candidate features to actual scene fragments, which resemble the “what+where” receptive fields found in the ventral visual stream in primates. We (...) describe a single-layer network that learns such fragments from unsegmented raw images of structured objects. The learning method combines fast imprinting in the feedforward stream with lateral interactions to achieve single-epoch unsupervised acquisition of spatially localized features that can support systematic treatment of structured objects [1]. (shrink)

Ninety-one right brain-damaged patients with left neglect and 43 right brain-damaged patients without neglect were asked to extend horizontal segments, either left- or rightward, starting from their right or left endpoints, respectively. Earlier experiments based on similar tasks had shown, in left neglect patients, a tendency to overextend segments toward the left side. This seemingly paradoxical phenomenon was held to undermine current explanations of unilateral neglect. The results of the present extensive research demonstrate that contralesional overextension is also evident in (...) most right brain-damaged patients without contralesional neglect. Furthermore, they show that in a minority of left neglect patients, the opposite behavior, i.e., right overextension can be found. The paper also reports the results of correlational analyses comprising the parameters of line-extension, line-bisection, and cancellation tasks, as well as the parameters relative to the Milner Landmark Task, by which a distinction is drawn between perceptual and response biases in unilateral neglect. A working hypothesis is then advanced about the brain dysfunction underlying neglect and an attempt is made at finding an explanation of neglect and the links between the mechanisms of space representation and consciousness through the study of the changes induced by unilateral brain lesions in the characteristics of space-coding neurons. Abbreviations: C, control group;GN+91,full group of neglect patients;GN+27,group of neglect patients with relative left overextension;GN+14,group of neglect patients with relative right overextension;GN-43,full group of non-neglect patients;GN-9,group of non-neglect patients with relative left overextension; H canc, H cancellation task; LE, left extension; LE/RE, ratio of left-right extension; N+, neglect patients; N-, non-neglect patients; PB Land-M, perceptual bias on Landmark motor task; PB Land-V, perceptual bias on Landmark verbal task; RB Land-M, response bias on Landmark motor task; RB Land-V, response bias on Landmark verbal task; RE, right extension. (shrink)

Salvador Dalí’s oilpainting Hallucination partielle. Six apparitions de Lénine sur un piano (1931) has been considered to be one of the most difficult works to interpret. O. Zaslavskii has analyzed it, using the sound of the words in title and the items depicted on the masterpiece, “the phonetic subtext”. Obviously, Zaslavskii’s interpretation is based on Osip Mandelstam’s poem “Grand piano” (1931), that in the context of Russian language associates the piano ( ) with the French Revolution. Nevertheless, Zaslavskii’s final conclusion (...) of the connections between Dalí’s painting and the French Revolution turns to be accurate, because it is possible to find iconographic parallels between Dalí’s “Partial hallucination…” and Jacques-Louis David’s “The death of Marat” (1793). On at least four most significant oil paintings from the beginning of Dalí’s surreal period we can observe his “emblem of love and death” as the combination of fellatio and bleeding. Obviously, he understood in the same code also Marat’s murdering by the knife of a woman. This allows us to insist, that Dalí was inspired to paint“Partial hallucination…” by “The death of Marat”. The shadow of a grand piano on his painting “Diurnal illusion: the shadow of a grand piano approaching” (1931) directly bears the meaning of “terror” and “fear”. In such motif combination and graphic parallel, the complex cultural metaphoric relations of these two paintings can be viewed. This complex can be considered as rhetorical in the sense of Juri Lotman’s conception. But it is evidently a case of “pure visual metaphor”, not an illustration of verbal metaphors. (shrink)

Salvador Dalí’s oilpainting Hallucination partielle. Six apparitions de Lénine sur un piano (1931) has been considered to be one of the most difficult works to interpret. O. Zaslavskii has analyzed it, using the sound of the words in title and the items depicted on the masterpiece, “the phonetic subtext”. Obviously, Zaslavskii’s interpretation is based on Osip Mandelstam’s poem “Grand piano” (1931), that in the context of Russian language associates the piano ( ) with the French Revolution. Nevertheless, Zaslavskii’s final conclusion (...) of the connections between Dalí’s painting and the French Revolution turns to be accurate, because it is possible to find iconographic parallels between Dalí’s “Partial hallucination…” and Jacques-Louis David’s “The death of Marat” (1793). On at least four most significant oil paintings from the beginning of Dalí’s surreal period we can observe his “emblem of love and death” as the combination of fellatio and bleeding. Obviously, he understood in the same code also Marat’s murdering by the knife of a woman. This allows us to insist, that Dalí was inspired to paint“Partial hallucination…” by “The death of Marat”. The shadow of a grand piano on his painting “Diurnal illusion: the shadow of a grand piano approaching” (1931) directly bears the meaning of “terror” and “fear”. In such motif combination and graphic parallel, the complex cultural metaphoric relations of these two paintings can be viewed. This complex can be considered as rhetorical in the sense of Juri Lotman’s conception. But it is evidently a case of “pure visual metaphor”, not an illustration of verbal metaphors. (shrink)

Automatic detection of information changes in the visual environment is crucial for individual survival. Researchers use the oddball paradigm to study the brain’s response to frequently presented stimuli and occasionally presented stimuli. The component that can be observed in the difference wave is called visual mismatch negativity, which is obtained by subtracting event-related potentials evoked by the deviant from ERPs evoked by the standard. There are three hypotheses to explain the vMMN. The sensory fatigue hypothesis considers that weakened (...) neural activity caused by repetition results in decreased ERPs of the standard. The memory trace hypothesis proposes that vMMN results from increased responses to the deviant. The predictive coding hypothesis attributes the difference to enhanced responses for deviants and suppression for standards. However, when distinguishing between these effects, previous researchers did not consider the effect of low-level features on the vMMN. In this experiment, we used face sequences composed of different emotions and presented an oddball sequence, a reverse oddball sequence, and an equiprobable sequence to participants. The deviant of the oddball sequence was subtracted from the standard of the oddball sequence, the reverse oddball sequence, and the same type of stimulus of the equiprobable sequence to get oddball-vMMN, reverse oddball-vMMN, and equiprobable-vMMN, respectively. The results showed no significant difference between vMMN2 and vMMN3 in 100–350 ms following stimulus onset, while the vMMN effect was significant, indicating that the probability of the standard did not affect vMMN, which supported the memory trace hypothesis. Additionally, the fearful-related vMMN were more negative than the neutral-related vMMN within the range of 100–150 ms, suggesting a negative bias. We analyzed the source location of different vMMNs. There was no significant difference in brain regions between different vMMNs. Time-frequency analysis showed that the deviant had stronger theta-band oscillatory than the standard. However, there was no difference between vMORs2 and vMORs3, indicating that vMORs reflect an enhanced response to the deviant in terms of neural oscillation, supporting the memory trace hypothesis. (shrink)

Facial appearance changes with age and health affecting skin color as well as facial and head hair. Yet somehow the brain is able to see past shared structure and dynamic deformations to focus on subtle details that distinguish one face from another. This article argues that the brain takes an efficient approach to this problem using prior knowledge about the structure of faces in its analysis. It employs intrinsic norms to focus on subtle variations in the shared face configuration that (...) differentiate one face from another. The study reviews evidence that the brain uses multiple norms to extract face identity that these norms are shaped by visual experience, and that norm-based coding is well-suited to meeting the challenges of image-based face perception mentioned above. By encoding faces with reference to stored perceptual norms the visual system can focus on what is unique to each individual, allowing for the discrimination of thousands of faces despite their similarity. (shrink)