Previous research has successfully used feature integration theory to operationalise the predictions of Perceptual Load Theory, while simultaneously testing the predictions of both models. Building on this work, we test the extent to which these models hold up in a 3D world. In two experiments, participants responded to a target stimulus within an array of shapes whose apparent depth was manipulated using a combination of monoscopic and stereoscopic cues. The search task was designed to test the predictions of (...) feature integration theory, as the target was identified by a single feature or a conjunction of features and embedded in search arrays of varying size, and perceptual load theory, as the task included congruent and incongruent distractors presented alongside search tasks imposing high or low perceptual load. Findings from both experiments upheld the predictions of feature integration theory, regardless of 2D/3D condition. Longer search times in conditions with a combination of monoscopic and stereoscopic depth cues suggests that binding features into three-dimensional objects requires greater attentional effort. This additional effort should have implications for perceptual load theory, yet our findings did not uphold its predictions; the effect of incongruent distractors did not differ between conjunction search trials and feature search trials. Individual differences in susceptibility to the effects of perceptual load were evident and likely explain the absence of load effects. Overall, our findings suggest that feature integration theory may be useful for predicting attentional performance in a 3D world. (shrink)

Spatial, physical, and semantic magnitude dimensions can influence action decisions in human cognitive processing and interact with each other. For example, in the SNARC effect, semantic numerical magnitude facilitates left-hand or right-hand responding dependent on the small or large magnitude of number symbols. SNARC-like interactions of numerical magnitudes with the radial spatial dimension (depth) were postulated from early on. Usually, the SNARC effect in any direction is investigated using fronto-parallel computer monitors for presentation of stimuli. In such 2D setups, (...) however, the metaphorical and literal interpretation of the radial depth axis with seemingly close / far stimuli or responses are not distinct. Hence, it is difficult to draw clear conclusions with respect to the contribution of different spatial mappings to the SNARC effect. In order to disentangle the different mappings in a natural way, we studied parametrical interactions between semantic numerical magnitude, horizontal directional responses, and perceptual distance by means of stereoscopic depth in an immersive virtual reality (VR). Two VR experiments show horizontal SNARC effects across all spatial displacements in traditional latency measures and kinematic response parameters. No indications of a SNARC effect along the depth axis, as it would be predicted by a direct mapping account, were observed, but the results show a non-linear relationship between horizontal SNARC slopes and physical distance. Steepest SNARC slopes were observed for digits presented close to the hands. We conclude that spatial-numerical processing is susceptible to effector-based processes but relatively resilient to task-irrelevant variations of radial-spatial magnitudes. (shrink)

The Greenough stereomicroscope, or “Stemi” as it is colloquially known among microscopists, is a stereoscopic binocular instrument yielding three-dimensional depth perception when working with larger microscopic specimens. It has become ubiquitous in laboratory practice since its introduction by the unknown scientist Horatio Saltonstall Greenough in 1892. However, because it enabled new experimental practices rather than new knowledge, it has largely eluded historical and epistemological investigation, even though its design, production, and reception in the scientific community was inextricably connected (...) to the new epistemological ideals of the life sciences caught between natural history and modern science. The development of the microscope will be contextualized within the scientific and technological landscape, showing how Greenough navigated his way through this terrain, and what led him to sow the seeds for the stereoscopic microscope. The historical controversy over the optical mechanism, through which the instrument would generate the desired depth perception, and how this quality was embedded into laboratory practice, will be examined. Subsequently, it will become evident that the specific image of nature produced by the stereoscopic microscope corresponded to the new ideals of the life sciences and their representation. (shrink)

Everyday visual experience constantly confronts us with things we can interact with in the real world. We literally feel the outside presence of physical objects in our environment via visual perceptual experience. The visual feeling of presence is a crucial feature of vision that is largely unexplored in the philosophy of perception, and poorly debated in vision neuroscience. The aim of this article is to investigate the feeling of presence. I suggest that visual feeling of presence depends on the visual (...) representation of a very particular spatial relation with the object we interact with: the visual representation of absolute egocentric depth, which is due to stereoscopic vision. (shrink)

: This commentary focuses on the scientific status of perceptual projection-a central feature of Pereira’s projective theory of consciousness. In his target article, he draws on my own earlier work to develop an explanatory framework for integrating first-person viewable conscious experience with the third-person viewable neural correlates and antecedent causes that form conscious experience into a bipolar structure that contains both a sense of self and a sense of the world. I stress that perceptual projection is a psychological effect and (...) list many of the ways it has been studied within experimental psychology, for example in studies of depth perception in vision and audition and experiences of depth arising from cues arranged on two-dimensional surfaces in stereoscopic pictures, 3D cinemas, holograms, and virtual realities. I then juxtapose Pereira’s explanatory model with two other models that have similar aims and background assumptions but different orientations, Trehub’s Retinoid model, which focuses largely on the neural functioning of the visual system, and Rudrauf et al’s Projective Consciousness Model, which draws largely on projective geometries to specify the requirements of organisms that need to navigate a three-dimensional world, and how these might be implemented in human information processing. Together, these models illustrate both converging and diverging approaches to understanding the role of projective processes in human consciousness. Resumo: Este comentário enfoca o status científico da projeção perceptiva - uma característica central da teoria da consciência de Pereira. Em seu artigo alvo, ele recorre ao meu trabalho anterior para desenvolver uma estrutura explicativa para integrar a experiência consciente visível em primeira pessoa com os correlatos neurais visíveis de terceira pessoa e as causas antecedentes que formam a experiência consciente em uma estrutura bipolar que contém tanto um sentido de eu e um sentido do mundo. Enfatizo que a projeção perceptiva é um efeito psicológico e relaciono modalidades de seu estudo na psicologia experimental, por exemplo em estudos de percepção de profundidade em visão e audição, experiências de profundidade em superfícies bidimensionais em imagens estereoscópicas, cinemas 3D, hologramas e realidades virtuais. Eu então justaponho o modelo explicativo de Pereira com dois outros modelos que têm objetivos e suposições similares, mas orientações diferentes, o modelo do sistema retinóide de Trehub, que se concentra principalmente no funcionamento neural do sistema visual, e o modelo de consciência projetiva de Rudrauf et al., que estabelece raciocínios geométricos para especificar os requisitos de organismos que precisam navegar em um mundo tridimensional, e como eles podem ser implementados no processamento de informação no contexto humano. Juntos, esses modelos ilustram abordagens convergentes e divergentes para compreender o papel dos processos projetivos na consciência humana. (shrink)

A single case study of a patient, D.M., with a lesion in the region of the right occipito-temporal gyrus is presented. D.M. had well-preserved language and general cognitive abilities. Colour discrimination, contrast sensitivity, gross depth perception, spatial localization, and motion appreciation were within normal limits.On the evaluation of perceptual abilities, he failed to identify two-dimensional shapes from stereoscopic vision, motion, and texture although in all cases he was able to identify the rough area subtended by the shape. These (...) findings are considered in relation to the current anatomical-physiological functional models of vision and it is suggested that D.M. 's deficits provide evidence for the existence in man of a functional pathway involved in the computation of texture and fine aspects of shape, which is distinct from the pathways involved in motion and stereopsis processing on one hand and colour and coarse aspects of form on the other hand. (shrink)

The intention of this article is to show with the name of Otto Von Guericke that, against the heideggerian lecture of the history of philosophy, the metaphysics never ends to think the being as being. Actuallly, the metaphysics searched the being and the ontological difference with more acuity and depth that the heideggerianism. The purpose is to show that the metaphysics and its concepts are still topical when we discuss the issue of the fundamental ontology. Before being a famous (...) physicist, Von Guericke was a metaphysician. His metaphysical concerns causes him to physical experiments, and not the reverse. (shrink)

This Introduction describes the approach and rules applied when translating a 25-page excerpt from Marx’s Manuscript of 1867–68, as published in the MEGA, Volume II/4.3. The draft status and terseness of the text required that the translation proceed along with a working-out of its mathematical content. The translation’s main guideline was to translate the draft such as it stood, while correcting figures and formulas wherever possible. Remaining major deficiencies and inconsistencies are discussed in depth, showing also what an outstanding (...) level of acuity Marx had already achieved in a manuscript at first-draft stage. (shrink)

The books under review exemplify some of the finest recent work on the historically informed political economy of Central and Eastern Europe. While different in their conceptual frameworks and geographical foci, the titles converge in the advancement of nuanced and convincing arguments, displaying both theoretical acuity and empirical depth to great effect. Bartel, Fabry, and Pula all share a resolute dedication to illuminating the under-explored provenances of neoliberalism and/or globalization in the region, that predate the annus mirabilis of 1989. (...) Their contributions situate the ‘Eastern bloc’ states within the contours of evolving global political economy and the existential crises engulfing capitalism and ‘actually existing socialism’ during the 1970s and beyond. The authors expound on the intricate web of global capital accumulation, geopolitical competition, and skilful diplomatic strategy, which served to dismantle the ‘Iron Curtain’. Two contributions further assess the postscripts of the 1989 revolutions. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BALTHASAR AND ECKHART: THEOLOGICAL PRINCIPLES AND CATHOLICITY CYRIL O'REGAN Yale University New Haven, Connecticut Or pleas'd to wound, and yet afraid to strike, Just hint a Fault, and hesitate Dislike; Alike reserv'd to blame or to commend, A tim'rous Foe and a suspitious Friend 1 THE TENDENCY to avoid exclusion is a mark of the thought of Hans Urs von Balthasar. It represents an identifying habit, an incorrigible feature (...) of style and sensibility. His texts in which theologians, philosophers, poets, dramatists, and saints are christianly praised give testimony to a catholicity that barely brooks limits. Not only in true Gospel fashion are a multitude invited to the eschatological banquet, they constitute the vast medium of tradition, in which Maximus the Confessor rubs shoulders with Plato, in the company of Claudel, Calderon, and Therese of Lisieux. At different times Balthasar thinks of the tradition as one huge symphony in which notes sound only to be transcended and as a conversation between particular perspectives on the great mystery of redemption, no one of which is final and which meet only in the infinity of their object. The decision for plurality and variety in the tradition certainly validates difference and counts against its reduction.2 Yet at the same time tradition, precisely as a matter of variety, exhibits a measure of coherence or concordance that pro1 These couplets are from Alexander Pope's poem Atticus. See Minor Poems, ed. Norman Ault, completed by John Butt (London: Methuen & Co. Ltd.; New Haven: Yale University Press, 1954), p. 143. 2 See, for example, The Theology of Karl Barth, trans. Edward T. Oakes, S.J. (San Francisco: Ignatius Press, 1992), pp. 39, 187, 251. 203 204 CYRIL O'REGAN hibits difference from becoming truly excessive. It is this prohibition of excessive difference in Balthasar's reading of tradition that I would like to examine here. I take as my case study of Balthasar's rhetoric of reading his conflicted response to Meister Eckhart, about whose inclusion in the Christian tradition Balthasar expresses no doubts, yet whose theological message is such as to cause anxiety. We shall occupy ourselves in this paper with the way in which Eckhart's nonnegotiable inclusion within the tradition serves to repress the account of those features that present a fundamental challenge, that represent difference that would make the Christian field radically heterogeneous. In the first two sections, focusing mainly on the fifth volume of The Glory of the Lord (=GL),3 I shall offer outlines of both the positive and negative contributions Eckhart is deemed to have made to the theological tradition. Though I do not wish to give the impression of Scholastic pro and contra, Balthasar's positive remarks being imbricated with the negative and vice versa, it will be suggested that the elements adduced in both cases constitute mirror images of each other. Balthasar takes a bifocal, though not stereoscopic, view of a group of five elements: aesthetic disposition, the sameness of Being and God, the whylessness of the divine, Gelassenheit, and Gottesgeburt. This group is in effect read twice, once in a way that affirms and confirms Eckhart's unproblematic inclusion in the tradition (section 1), and again in a way that, in the light of basic Christian principles, raises serious questions about such inclusion (section 2). In a final section the question is raised whether the conflict in interpretation suggests a deeper underlying conflict between Balthasarian commitment to Catholic theological principles and catholicity. I. BALTHASAR'S AFFIRMATIVE RENDERING OF ECKHART On the surface there is little reservation about the approbation Eckhart receives in the fifth volume of The Glory of the 3 The Glory ofthe Lord: A Theological Aesthetics, vol. S, The Realm ofMetaphysics in the Modern Age, trans. Oliver Davies, Andrew Louth, Brian McNeil, C.R.V., John Saward, and Rowan Williams, ed. Brian McNeil, C.R.V. and John Riches (San Francisco: Ignatius Press, 1991). BALTHASAR AND ECKHART 205 Lord. If the depths of Balthasar's analyses of the medievals in his volumes on metaphysics (vols. 4 & 5) never reach the level of his account of Anselm and Bonaventure in volume two, it would be caviling to suggest that his intention at the... (shrink)

I happen to have a visual impairment known as strabismus, which means that the information from my eyes is not successfully fused in my brain, so I lack stereoscopic vision. Hence I was surprised to find I could see some depth effects of recent 3D films such as Wim Wenders’s Pina. This experience has prompted me to explore both further information about binocular vision and various disputes about the aesthetic merits of 3D films. My paper takes up the (...) following topics: (1) a review of information about binocular vision and the problem of strabismus; (2) a summary of 3D film history and techniques; (3) a discussion of the aesthetic merits and deficits of some “best cases” of contemporary 3D films, concluding with (4) assessments of the meaning of claims about 3D cinema’s alleged superior “realism.” I consider three proposals about the superior realism of 3D movies with the aim of summarizing what the latest ventures in this mode mean to those of us who lack normal binocular vision. (shrink)

This edited collection investigates the kinds of moral reflection we can undertake within the imaginative worlds of literature. In philosophical contexts of ethical inquiry we can too easily forget that literary experience can play an important role in the cultivation of our ethical sensibilities. Because our ethical lives are conducted in the real world, fictional representations of this world can appear removed from ethical contemplation. However, as this stimulating volume shows, the dichotomy between fact and fiction cannot be so easily (...) categorised. Moral perception, moral sensitivity, and ethical understanding more broadly, may all be developed in a unique way through our imaginative life in fiction. Moral quandaries are often presented in literature in ways more linguistically precise and descriptively complete than the ones we encounter in life, whilst simultaneously offering space for contemplation. The twelve original chapters in this volume examine literary texts – including theatre and film – in this light, and taken together they show how serious reflection within fictional worlds can lead to a depth of humane insight. The topics explored include: the subtle ways that knowledge can function as a virtue; issues concerning our relations to and understanding of each other; the complex intertwining of virtues and vices in the modern world; and the importance of bringing to light and reconsidering ethical presuppositions. With an appreciation of the importance of richly contextualized particularity and the power of descriptive acuity, the volume maps out the territory that philosophical reflection and literary engagement share. (shrink)

Responding to increasing global anxiety over the ethics education of military personnel, this volume illustrates the depth, rigour and critical acuity of Professional Military Ethics Education (PMEE) with contributions by distinguished ethical theorists. It refreshes our thinking about the axioms of just war orthodoxy, the intellectual and political history of just war theorizing, and the justice of recent military doctrines and ventures. The volume also explores a neglected moral dimension of warfare, jus ante bellum (the ethics of pre-war practices) (...) – particularly jus in disciplina bellica (the ethics of educating for warfare). Using metaphor to exemplify the professionalization of the military, the book exposes ambivalences within military professionals' concepts of their professional responsibilities, analyzes issues of self-respect posed by service in an unjust cause, and surveys the deep conflicts inherent in PMEE. While primarily focused on US military academies, the volume will resonate with those responsible for education in military academies across the globe. (shrink)

In amblyopia, abnormal visual experience during development leads to an enduring loss of visual acuity in adulthood. Physiological studies in animal models suggest that intracortical GABAergic inhibition may mediate visual deficits in amblyopia. To better understand the relationship between visual cortical γ-aminobutyric acid (GABA) and perceptual suppression in persons with amblyopia (PWA), we employed magnetic resonance spectroscopy (MRS) to quantify GABA levels in both PWA and normally-sighted persons (NSP). In the same individuals, we obtained psychophysical measures of perceptual suppression for (...) a variety of ocular configurations. In PWA, we found a robust negative correlation between the depth of amblyopia (the difference in visual acuity between the amblyopic and non-amblyopic eyes) and GABA concentration that was specific to visual cortex and was not observed in a sensorimotor cortical control region. Moreover, lower levels of visual cortical GABA were associated with weaker perceptual suppression of the fellow eye by the amblyopic eye and stronger suppression of the amblyopic eye by the fellow eye. Taken together, our findings provide evidence that intracortical GABAergic inhibition is an important component of the pathology of human amblyopia and suggest possible therapeutic interventions to restore vision in the amblyopic eye through enhancement of visual cortical GABAergic signaling in PWA. (shrink)

In her drama Cassandra Lesia Ukrainka pays considerable attention to language and demonstrates its two defi ning forms and functional paradigms. One of them is language that appeals to the essential components of being. It is language that refl ects human existence in all its acuity and fullness of appearance. This language is complex and diffi cult to understand, but is the only real language of the age of modernism. Another language is superfi cial, appealing not to the depths of (...) life and universal categories, but to temporary human needs and aspirations. Its task is to identify the ways and means of achieving a desired goal. Such language is manipulative, because its speakers tend to hide their personal interests under claims of the common good. Also, in the drama, Lesia Ukrainka innovatively raises a number of questions related to the internal laws of world development, the processes of human cognition, the functioning of language, and the understanding and interpretation of the word. The formulation and presentation of these issues demonstrate the clear modern attitude that the writer professed and embodied in her drama. (shrink)

We argue that for scientists and science communicators to build usable knowledge for various publics, they require social and political capital, skills in boundary work, and ethical acuity. Drawing on the context of communicating seasonal climate predictions to farmers in Australia, we detail four key issues that scientists and science communicators would do well to reflect upon in order to become effective and ethical intermediaries. These issues relate to the boundary work used to link science and values and thereby construct (...) public identities, emplacement, that is, the importance of situating knowledge in relation to the places with which people identify, personal and organizational processes of reflexivity, and the challenges of developing and maintaining the social and political capital necessary to simultaneously represent people’s identities and lifeworlds and the climate systems that affect them. Through a discourse analysis of in-depth interviews with Australian agro-climatologists, we suggest that three distinct “modes of extension” are apparent, namely, discursive, conceptual, and contextual. Our participants used these three modes interdependently to create knowledge that has salience, credibility, and legitimacy. They thereby generated new narratives of place, practice, and identity for Australian agriculture. (shrink)

We discuss first a "stance" methodology toward the problem of personhood. This is to ask first, what it is to take something to be a person, and then to move via a notion of appropriateness to an answer to what it is to be a person. We argue that the distinctions between persons and non-persons, between agents and patients, and between subjects and mere objects are deeply connected. All three distinctions are themselves traced to a fundamental distinction within the space (...) of reasons -- between, that is, two sorts of material inferential propriety. These two structures of inference are made explicit by indicative and subjunctive conditionals. Tracing personhood to the fundamentally stereoscopic structure of material inference sheds light not only on notions of freedom, agency, and personhood, but on the nature of modal judgments, on the conceptual space of causation, and on the semantics of the explicitating conditionals. We conclude with a pragmatic argument for belief in persons. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this unique book, Alexander Lian, a practicing commercial litigator, advances the thesis that the most famous article in American jurisprudence, Oliver Wendell Holmes's “The Path of the Law,” presents Holmes's leading ideas on legal education. Through meticulous analysis, Lian explores Holmes's fundamental ideas on law and its study. He puts “The Path of the Law” within the trajectory of Holmes's jurisprudence, from earliest scholarship to The Common Law to the occasional pieces Holmes wrote or delivered after joining the U.S. (...) Supreme Court. Lian takes a close look at the reactions “The Path of the Law” has evoked, both positive and negative, and restates the essay's core teachings for today's legal educators. Lian convincingly shows that Holmes's “theory of legal study” broke down artificial barriers between theory and practice. For contemporary legal educators, Stereoscopic Law reformulates Holmes's fundamental message that the law must been seen and taught three-dimensionally. (shrink)

SummaryVisual acuity was tested and the anterior portion of the eye inspected among the Gidra in Lowland Papua New Guinea, who depend on hunting for their animal food. The visual acuity of the youths and adults was as high as that of hunters and gatherers; 88% of the males and 81% of the females had an acuity of 1·2 or better. The elders had far lower acuity, correlated with the advance of cataract. The senescent visual acuity is discussed in relation (...) to little practice and low productivity of the elders' hunting, and to the Gidra traditional age-grade system. (shrink)

The purpose of the study was to investigate how numeracy and acuity of the approximate number system (ANS) relate to the calibration and coherence of probability judgments. Based on the literature on number cognition, a first hypothesis was that those with lower numeracy would maintain a less linear use of the probability scale, contributing to overconfidence and nonlinear calibration curves. A second hypothesis was that also poorer acuity of the ANS would be associated with overconfidence and non-linearity. A third hypothesis, (...) in line with dual-systems theory (e.g., Kahneman and Frederick, 2002 ) was that people higher in numeracy should have better access to the normative probability rules, allowing them to decrease the rate of conjunction fallacies. Data from 213 participants sampled from the Swedish population showed that: (i) in line with the first hypothesis, overconfidence and the linearity of the calibration curves were related to numeracy, where people higher in numeracy were well calibrated with zero overconfidence. (ii) ANS was not associated with overconfidence and non-linearity, disconfirming the second hypothesis. (iii) The rate of conjunction fallacies was slightly, but to a statistically significant degree decreased by numeracy, but still high at all numeracy levels. An unexpected finding was that participants with better ANS acuity gave more realistic estimates of their performance relative to others. (shrink)

In this article I consider how the very different but equally Sellars inspired views of Robert Brandom and Ruth Millikan serve to highlight both the deep difficulties and the prospects for a solution to what is arguably the most central problem raised by Sellars’s attempted “stereoscopic fusion” of the “manifest” and “scientific images”: namely, the question of the nature and place of norm-governed conceptual thinking within the natural world. I distinguish two “stereoscopic tasks”: (1) the possibility of integrating (...) a naturalistic theory of animal representation within an irreducibly normative inferentialist account of conceptual content; and (2) the possibility of providing a naturalistic explanation of the normative “space of reasons” and conceptual thinking as such. Millikan embraces and Brandom resists the naturalistic representationalist hypotheses involved in (1); while Brandom embraces and Millikan resists the conception of pragmatically irreducible normativity involved in (2). The grounds of resistance in each case are arguably suspect. (shrink)