There are many ways to assess face perception skills. In this study, we describe a novel task battery FEAST (Facial Expression Action Stimulus Test) developed to test recognition of identity and expressions of human faces as well as stimulus control categories. The FEAST consists of a neutral and emotional face memory task, a face and object identity matching task, a face and house part-to-whole matching task, and a human and animal facial expression matching task. The identity and part-to-whole matching (...) tasks contain both upright and inverted conditions. The results provide reference data of a healthy sample of controls in two age groups for future users of the FEAST. (shrink)

Though emotional faces preferentially reach awareness, the present study utilised both objective and subjective indices of awareness to determine whether they enhance subjective awareness and “blindsight”. Under continuous flash suppression, participants localised a disgusted, fearful or neutral face (objective index), and rated their confidence (subjective index). Psychopathic traits were also measured to investigate their influence on emotion perception. As predicted, fear increased localisation accuracy, subjective awareness and “blindsight” of upright faces. Coldhearted traits were inversely related to subjective awareness, (...) but not “blindsight”, of upright fearful faces. In a follow-up experiment using inverted faces, increased localisation accuracy and awareness, but not “blindsight”, were observed for fear. Surprisingly, awareness of inverted fearful faces was positively correlated with coldheartedness. These results suggest that emotion enhances both pre-conscious processing and the qualitative experience of awareness, but that pre-conscious and conscious processing of emotional faces rely on at least partially dissociable cognitive mechanisms. (shrink)

We routinely need to process the identity of many faces around us, and how the brain achieves this is still the subject of much research in cognitive neuroscience. To date, insights on face identity processing have come from both healthy and clinical populations. However, in order to directly compare results across and within participant groups, and across different studies, it is crucial that a standard task is utilised which includes different exemplars (for example, non-face stimuli along with faces), is memory-neutral, (...) and taps into identity recognition across orientation and across viewpoint change. The goal of this study was to test a previously behaviourally tested, optimised face and object identity matching design in a healthy control sample whilst being scanned using fMRI. Specifically, we investigated categorical, orientation, and category-specific orientation effects while participants were focused on identity processing of simultaneously presented exemplar stimuli. Alongside observing category and orientation specific effects in a distributed set of brain regions, we also saw an interaction between stimulus category and orientation in the bilateral fusiform gyrus and bilateral middle occipital gyrus. Generally these clusters showed the pattern of a heightened response to inverted, as opposed to upright faces; and to upright, as opposed to inverted shoes. These results are discussed in relation to previous studies and to potential future research within prosopagnosic individuals. (shrink)

Inverting a face impairs perception of its features and recognition of its identity. Whether faces are special in this regard is a current topic of research and debate. Kanizsa studied the role of facial features and environmental context in perceiving the emotion and identity of upright and inverted faces. He found that observers are biased to interpret faces in a retinal coordinate frame, and that this bias is readily overruled by increased realism of facial features, but not easily (...) overruled by environmental context. An additional factor contributing to a retinal coordinate-frame interpretation may be the ambiguous nature of the face stimuli. Since his facial expressions are interpretable both upright and inverted, they may in both orientations activate an endogenous attentional process for faces. We present visual search and change-blindness experiments that explore how inversion, negation, and facial emotion affect visual attention to static faces. We find that attention to faces is impaired by inversion and negation. We also find that the parts of the face that receive greater attention can be influenced by the emotional expression of the face. We propose to extend these experiments to dynamic faces. To this end, we develop a theory of the visual representation of dynamic faces, in which faces are represented by classes of `spacetime fragments'-moving regions of the face with high informational content. We then present ideas for future experiments which are motivated by the spacetime fragment theory, and which should serve to constrain its further development. (shrink)

Inverting a face impairs perception of its features and recognition of its identity. Whether faces are special in this regard is a current topic of research and debate. Kanizsa studied the role of facial features and environmental context in perceiving the emotion and identity of upright and inverted faces. He found that observers are biased to interpret faces in a retinal coordinate frame, and that this bias is readily overruled by increased realism of facial features, but not easily (...) overruled by environmental context. An additional factor contributing to a retinal coordinate-frame interpretation may be the ambiguous nature of the face stimuli. Since his facial expressions are interpretable both upright and inverted, they may in both orientations activate an endogenous attentional process for faces. We present visual search and change-blindness experiments that explore how inversion, negation, and facial emotion affect visual attention to static faces. We find that attention to faces is impaired by inversion and negation. We also find that the parts of the face that receive greater attention can be influenced by the emotional expression of the face. We propose to extend these experiments to dynamic faces. To this end, we develop a theory of the visual representation of dynamic faces, in which faces are represented by classes of `spacetime fragments'-moving regions of the face with high informational content. We then present ideas for future experiments which are motivated by the spacetime fragment theory, and which should serve to constrain its further development. (shrink)

One stable marker of face perception appears to be left-side bias, the tendency to rely more on information conveyed by the left side of the face than the right. Previous studies have shown that left-side bias is influenced by familiarity and prior experience with face stimuli. Since other-race facial recognition is characterized by reduced familiarity, in contrast to own-race facial recognition, the phenomenon of left-side bias is expected to be weaker for other-race faces. Among Chinese participants, face inversion has (...) been found to eliminate the left-side bias associated with own-race faces. Therefore, it is of interest to know whether face inversion influences left-side bias for non-Chinese research participants and can be generalized across own- and other-race faces. This study assessed 65 Caucasian participants using upright and inverted chimeric Caucasian and Asian faces in an identity similarity-judgment task. Although a significant left-side bias was observed for upright own-race faces, this bias was eliminated by facial inversion, indicating that such a bias depends on the applicability of configural processing strategies. For other-race faces, there was no left-side bias in the upright condition. Interestingly, the inverted presentation yielded a right-side bias. These results show that while left-side bias is affected by familiarity differences between own- and other-race faces, it is a universal phenomenon for upright faces. Inverted presentation strongly reduces left-side bias and may even cause it to revert to right-side bias, suggesting that left-side bias depends on configural face processing. (shrink)

The phrase koine aisthesis appears, as far as I can see, very rarely in Aristotle. There is one definite use of the phrase in the De Anima, at 425a27. The word koine without aisthesis but such that the latter must be supplied may possibly occur at 431b5, but the text is uncertain there, and there is every reason why the word should be deleted from the text. This leaves us with a single occurrence of the phrase koine aisthesis in the (...) De Anima and it is used explicitly to deal with perception of the koina, the so-called common sensibles. Outside the De Anima, the phrase occurs at De Memoria 450a10, and at De Partibus Animalium 686a27, and I think nowhere else. Of these two passages that from the De Memoria is, although somewhat obscure, in line with the De Anima reference; it seems to invoke the common sense for the perception of magnitude, motion and time, and also says that an image is a pathos of the common sense, presumably because an image must be of a magnitude. The De Partibus Animalium passage is somewhat more eccentric. It is concerned with the fact that man is the only animal to walk upright, and associates this with the fact that man can think. This would not be easy if he had much of his body weighing down on him from above, for weight makes unresponsive thought and the common sense- τὴν διάνοιαν καὶ τὴν κοινὴν αἴσθησιν. Whatever be the other curiosities in this passage, the close association of thought and the common sense is itself at first sight rather strange. If any account can be given of it, it is presumably because of the facts adduced in the De Memoria passage, that thinking involves images, and these the koine aisthesis. (shrink)

The world perceived by a person undergoing vision without inversion of the retinal image has traditionally been described as inverted. Drawing on the philosophical work of Maurice Merleau-Ponty and the empirical research of Hubert Dolezal, I argue that this description is more reflective of a representationist conception of vision than of actual visual experience. The world initially perceived in vision without inversion of the retinal image is better described as lacking in lived significance rather than inverted; vision without inversion of (...) the retinal image affects the very content of the perceived world, including, importantly, its expressions and conducts, and not merely the orientation of this content. Moreover, I argue that the enactive approach, rather than a representationist approach, is best able to account for the perception of the world, after prolonged vision without inversion of the retinal image, as both normal and upright, yet still different from the world seen previously. Finally, in their attention to the perception of other people’s facial expressions, I argue that Merleau-Ponty and Dolezal draw out the existential significance of the enactive approach. In encountering another person, the most pressing task is generally not to observe this person’s features but, instead, to engage with this person’s expressions. (shrink)

Humans have inherited from their remotest mammalian ancestors an integration of the sensory and motor systems that permits the exchange of signals and information, led by an instinctive response to harmonicity. The transition, from capacity for animal communication involving calls, facial expression and gestures, to modern human culture that embraces language, music, and dance, has resulted from anatomical adaptations such as upright posture, a distinct oro-facial and respiratory tract arrangement, and important changes in neural architecture, connectivity and plasticity. A (...) key development on which modern human vocal abilities depend was the achievement of a feedback loop between the perception and production of voiced sound that allows precise matching, imitation, and meaningful variation, of the acoustic properties: fundamental frequency, duration, amplitude, and timbre; all contributing to the capacity to coordinate simultaneous participation. These are the four specific properties that influence our sensations of sound. They play parallel and complementary roles in both language and vocal music, represented in blended synchrony such as unison song and collective speech as well as temporally organised and coordinated sequences such as call-and-response and polyphony. In turn, responding especially to the properties of the Harmonic Series, such features inform the musical employment of tools – musical instruments – that make use of materials available in the local environment (skin, bone, stone, bamboo, wood, etc.) to provide increased range and loudness as well as alternative timbres to those produced by the voice. We propose a framework by which the adaptations essential to such universal behaviours may have arisen, drawing on an extensive and varied literature to explore the potential of this position for illuminating the nature of human musicality and its relationship to language development. (shrink)

The world shows some degree of invariance, and we perceive this invariance despite a lot of variation generated locally by our movements, changes in illumination, and the way in which our sense organs react to stimulation. Generally, philosophy and psychology each explain our perception of invariance through the notion of ‘perceptual constancy’. According to the traditional definition, perceptual constancies are capacities to perceive the objective (i.e., perceiver- and context-independent) local properties of external objects despite variation in the stimulation of (...) sensory organs. In this paper, we argue that the traditional understanding of perceptual constancy should be expanded to include a broader range of phenomena connected to the perception of invariance. Our argument starts from an odd activity: pole balancing. Balancing a pole-shaped object (e.g., a broomstick) on the palm of your hand in order to maintain it in an upright position requires (multimodal) perception and continuous tracking (within a certain range) of a particular kind of global invariant feature in the world. By examining this activity and its connection to the notion of perceptual constancy as it is traditionally understood, we propose an alternative account with the goal of clarifying the relationship between the alleged mechanisms underlying constancy and the philosophical implications of the phenomenon. (shrink)

La poésie lyrique de Hâfez s'élève au niveau de la plus exigeante méditation philosophique. L'amour, qui est son foyer, n'y désigne pas une affection ou une passion de l'âme. Il fait écho à la théologie de l'amour qui s'est construite en islam au croisement du néoplatonisme avicennisant et du soufisme d'Ibn 'Arabî. Pour Hâfez, l'amour est ce qui de Dieu apparaît dans l'homme. Ses affres sont le mystère de la théophanie. Le ghazal est une fenêtre sur l'ontologie de la théophanie (...) et sur l'amphibolie du réel qu'elle induit. Il opère, dans la matière des figures qu'il sollicite, la coalescence des ordres de la réalité et des formes de la perception. Il révèle les ressources du sensible quand il devient cette réalité subtile lestée d'une matière transmuée. La poésie de Hâfez dévoile les paradoxes du réel, immanent et transcendant, sensible et intelligible, pour nous mettre sur la voie du paradoxe fondamental : le paradoxe de Dieu, qui est caché et apparent, et le paradoxe de la révélation, qui confère des noms et des attributs à une essence insondable. Ce faisant, elle côtoie les discours de la religion et de la philosophie. Le poète, en dévoilant le sens vrai de la révélation, devient le rival du religieux. Il trouve son site en un lieu défriché et balisé par le philosophe. Hâfez exprime dans l'unité et l'équilibre parfait du poème d'amour la théologie et l'ontologie que le philosophe formule dans des concepts abstraits. Il parachève le projet que la philosophie réalise partiellement et maladroitement. The lyrical poetry of Hâfez is in the upright position of the most accurate philosophical meditation. Its focus, which is love, is neither affection nor a passion of the soul. Love, in this place, is the matter of the theological theory of love born in Islam at the crossing of the Neo-Platonism of Avicenna and the Sufism of Ibn 'Arabî. According to Hâfez, Love proceeds from God and is made manifest in man. To endure the suffering of love is the secret of God's self-revelation. The ghazal uncloses the ontology of God's self-revelation and the ambiguous signification of the reality signified by it. By the modes of the poetical expression, divine realities and forms of perception are coalescing, and what the sensible supplies gets clearly visible. Hâfez's poetry unveils the paradox of divine reality, being both immanence and transcendence, intelligible and sensible. By this way, we are led to the essential paradox: the paradox of God, who is both hidden and evident, that is the paradox of revelation: the Essence is unknown, and yet it admits names and attributes. Thus, poetry joins with religion and philosophy. The poet unveils the true signification of revelation and thereby competes with the devout. He dwells in a place closely examined by the philosopher. Hâfez makes known the theological and ontological matters of abstract concepts of philosophy in the unity and perfect equilibrium of the poem. The poet brings to the end the philosopher's purpose, which the philosopher is unable to accomplish. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Confucian Sentimental Representation: A New Approach to Confucian Democracy by Kyung Rok KwonStephen C. AngleKWON, Kyung Rok. Confucian Sentimental Representation: A New Approach to Confucian Democracy. New York: Routledge, 2022. vi + 128 pp. Cloth, $128.00; eBook, $39.16Two facts have driven much of the recent theorizing about Confucian democracy. First, even in robust democracies like South Korea and Taiwan, East Asian citizens hold distinctive views about the relation (...) between leaders and led. Two-thirds of South Korean respondents and a third of those from Taiwan agreed with the statement "If we have political leaders who are morally upright, we can let them decide everything." Second, it is uncontroversial to say that traditional Confucianism advocated for rule by the virtuous. Most observers believe these two facts are linked but disagree about their normative upshot. Some regret the lingering authoritarianism polluting East Asian democracies, while others—primarily based in less democratic [End Page 146] countries—call for an embrace of "meritocracy" instead of democracy. A third group, to which Kwon Kyung Rok and I both belong, believe that properly understood "rule by virtue" can be better realized in a democracy. This means that modern Confucians should be democrats, and it suggests a distinctive way of conceptualizing democracy that both may be more apt for East Asia and may even offer lessons applicable worldwide. For Kwon, the key to all this is rethinking how we understand political representation.Kwon argues that we should look to representation rather than directly at democracy because representation is both central to modern conceptions of democracy and yet makes a more constructive dialogue partner for Confucian virtue-based politics. Democracy, says Kwon, is at its core concerned with the equal distribution of political power, whereas representation concerns "a special relationship and psychology" between the representer and the represented that he understands in terms of "authorization," the making of "sound judgments," and "accountability." Chapters 1 and 2 of the book explore the primarily "rationalist" notion of representation found in the Western tradition and the more "sentimentalist" version of representation that can be constructed out of Confucian virtue politics. The latter chapter is the creative core of the book. Kwon argues that for one to count as a representative in a modern Confucian context, one needs to make sound judgments of the true interests of society and share emotions with the people—in the process of transforming them into more morally cultivated people. This sense of "representing" the people builds on what it is to be a virtuous exemplar. Along the way Kwon makes a detailed case that direct caring rather than empathy is core to the idea of humaneness (or benevolence; ren) that is so central to Confucianism; this is a good example of how he engages with interpretive literature to clarify aspects of his picture.The final two chapters engage with alternative accounts of modern Confucian political theory. Chapter 3 provides a negative defense of democratic sentimental representation by demonstrating that various "meritocratic" alternative arguments fail. One of the key points here is that Daniel Bell and Tongdong Bai are overly concerned with the instrumental value of a ruler's competence, missing the intrinsic value of a ruler's virtue and its contribution to the ethically good life of the community; as a result, their views fail to be distinctively Confucian. Chapter 4 takes Sungmoon Kim's influential idea of "public reason Confucianism" as its point of departure. Kwon is quite sympathetic to Kim's framework and defends Kim against certain misunderstandings, but perceptively argues that there is a gap in Kim's account between citizens, understood primarily in affective terms, and the state, which in Kim's account is exemplified by the high court and is understood primarily in rationalist terms. What is missing is the bridging role of leaders. Kwon writes that mediating between formal and informal decision-making processes, leaders should "make ordinary citizens feel respected and make them focus on public issues in appropriate ways." He believes that a caring and competent [End Page 147] leader can "broaden the horizon of mutual understanding by exhorting [citizens] to think of all as belonging to an extended family." In short... (shrink)

Some years ago Cheung et al. (2008) proposed the complete design (CD) for measuring the failure of selective attention in composite objects. Since the CD is a fully balanced design, analysis of response bias may reveal potential effects of the experimental manipulation, the stimulus material, and/or attributes of the observers. Here we used the CD to prove whether external features modulate perception of internal features with the context congruency paradigm (Meinhardt-Injac et al., 2010; Nachson et al., 1995) in a (...) larger sample of N = 303 subjects. We found a large congruency effect (Cohen’s d = 1.78), which was attenuated by face inversion (d = 1.32). The congruency relation also strongly modulated response bias. In incongruent trials the proportion of “different” responses was much larger than in congruent trials (d = 0.79), which was again attenuated by face inversion (d = 0.43). Because in incongruent trials the wholes formed by integrating external and internal features are always different, while in congruent trials same and different wholes occur with the same frequency, a congruency related bias effect is expected from holistic integration. Our results suggest two behavioral markers of holistic processing in the context congruency paradigm: a performance advantage in congruent compared to incongruent trials, and a tendency towards more “different” responses in incongruent, compared to congruent trials. Since the results for both markers differed only quantitatively in upright and inverted presentation, our findings indicate no change of the face processing mode by picture plane rotation. A potential transfer to the composite face paradigm is discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMESIS AND EMPATHY IN HUMAN BIOLOGY William B. Hurlbut, M.D. Stanford University Thou shalt not avenge, nor bear any grudge against the children of thy people, but thou shalt love thy neighbor as thyself: I am the Lord. (Leviticus. 19:18) The light of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light. But if thine eye be evil, thy (...) whole body shall be full of darkness. If therefore the light that is in thee be darkness, how great is that darkness! (Matthew. 6:22-23) On the levels both ofcommon discourse and scientific description, the concept of empathy has found renewed popularity. Like a bridge that spans disparate realms, the idea of empathy can reconnect neurophysiology with psychology and social theory, and reestablish the grounds for a natural concept of ethics. Specifically, it can connect mimetic theory with a possible basis in biology, since empathy seems to represent an extension ofmimetic processes across the animal kingdom. For this reason, empathy/mimesis might be the grounds for a concept of ethics based on natural observation. Drawn from a German term Einfühlung, which means "feeling into," empathy carries the concept of "getting into the feelings of someone else" (deWaal 79). As a medium for the formation of meaningful bonds and William Hurlbut15 sensitive associations, the concept of empathy has taken on, in popular discourse, the somewhat sentimental notion ofsympathy. In the scientific description, however, empathy is seen as the highest human expression of a broader biological capacity for mimesis that seems inextricable from the very progress ofthe phylogenetic process. Among the earliest life forms, organisms drew information from one another to pattern and coordinate such basic biological functions as reproduction and nurture. But with the increased complexity of multicellular creatures, new means of communication arose, making possible more flexible adaptation and sociability. Gradually the direct chemical coordination suitable for collectives or swarms gave way to richer and more individual communication between organisms of higher forms of differentiation. The externally evident demarcation ofthe head region, with its organs ofsensory perception and communication, evolved in parallel with internal cerebral structures capable ofprocessing more complex impressions of the surrounding environment and coordinating greater freedom of motion. These vital powers of action and awareness in turn came to be governed, guided and integrated by an inner felt sense of need, goal or purpose. As Leon Kass says, "desire, not DNA, is the deepest principle of life" (Kass 1994, 48). This quality of "inwardness" is paralleled by an equally complex differentiation and integration of the external "look" ofthe animal. This "look," which is the literal translation of the Latin root of our word species, is the result of a genetically determined plan as important as any internal vital organ. It provides the unity of form that reveals or selectively conceals the inner life of the organism. It communicates and coordinates vital information regarding sexual and other social interactions. This upward process ofcomplex integrated organization of the "inner life" and the external action and presentation of selfreaches its fullest expression in the human form. Along with upright posture and its freeing ofthe hands as tools of "gnostic touching," comes a reordering of the senses and a highly flexible, furless canvas of selfpresentation we call the face (Kass 1985, 287). Upwards through mammalian evolution there is a progressive refinement of the structures of the face that facilitate active and increasingly subtle communication and penetration into the life of the other. With more than 30 finely tuned muscles of facial expression and vocal control, human beings are capable of a wide array of communicative 16 Mimesis andEmpathy expressions of emotions and intentions. Paul Ekman claims to have discerned more than 1 8 forms of smiling, each with a distinct meaning (66). With upright posture came a retraction ofthe snout and bilateral stereoscopic vision. Sight replaced smell as the prominent sense. Whereas smell required direct chemical contact, and sound gave formless information, sight gave a knowing and accurate encounter with the form and unity ofwholes. Sight allowed rapid perception ofobjects and actions at distant horizons. The detached beholding of sight allowed a deeper and more accurate apprehension of... (shrink)

Determining how we use our body to support cognition represents an important part of understanding the embodied and embedded nature of cognition. In the present investigation, we pursue this question in the context of a common perceptual task. Specifically, we report a series of experiments investigating head tilt (i.e., external normalization) as a strategy in letter naming and reading stimuli that are upright or rotated. We demonstrate that the frequency of this natural behavior is modulated by the cost of (...) stimulus rotation on performance. In addition, we demonstrate that external normalization can benefit performance. All of the results are consistent with the notion that external normalization represents a form of cognitive offloading and that effort is an important factor in the decision to adopt an internal or external strategy. (shrink)

Observing averted eye gaze results in the automatic allocation of attention to the gazed-at location. The role of the orientation of the face that produces the gaze cue was investigated. The eyes in the face could look left or right in a head-centred frame, but the face itself could be oriented 90 degrees clockwise or anticlockwise such that the eyes were gazing up or down. Significant cueing effects to targets presented to the left or right of the screen were found (...) in these head orientation conditions. This suggests that attention was directed to the side to which the eyes would have been looking towards, had the face been presented upright. This finding provides evidence that head orientation can affect gaze following, even when the head orientation alone is not a social cue. It also shows that the mechanism responsible for the allocation of attention following a gaze cue can be influenced by intrinsic object-based (i.e. head-centred) properties of the task-irrelevant cue. (shrink)

Hegel is one of the few philosophers to devote systematic attention to phenomena that can be called pathologies of juridicism. Hegel claims that the law fundamentally contaminates the way in which we relate to ourselves, to others and to the world so that our (inter-) subjectivity becomes ethically deformed, distorted, or deficient. I outline this notion and reconstruct its development in the work of the young Hegel. I reconstruct Hegel’s critique of juridical forms of normativity as developed in his Spirit (...) of Christianity with reference to the example of Judaism and sketch his idea of a non-juridical intersubjectivity. I will make apparent the considerable problems lurking in Hegel’s account of love, which turns out to be a form of social integration potentially just as violent as the law. I argue that Hegel himself became aware of this problem and modified his original model by assigning to both love and law a legitimate place within an overarching system of Sittlichkeit, as I demonstrate with reference to Hegel’s Jena article ‘Natural Law ’. In the end I briefly explain why I still find this strategy unsatisfactory. (shrink)

The methods employed by structuralist anthropology in the European area to free lived Christianity from its categorization as a popular religion steeped in ‘pagan relics’ also facilitate the analytical description of social practices and rituals that in France are part of the anti-clerical struggle of the late 19th century. More than forms of philosophical or militant atheism, the spiritualist movements introduce ‘Science’ as a symbolic entity in order to revive learning of counter-empirical ideas at the heart of a mode of (...) religious transmission that persists today and takes on board the demands of secular societies for religious pluralism. (shrink)

This paper provides a close reading of Erwin Straus’ “The Upright Posture” from a disability studies perspective. Straus argues that the upright posture dominates the human world. But he excludes those who dwell in it otherwise. By reviewing phenomenological disability literature, this paper asks what a disabled phenomenology would look like, one rooted in the problem of inclusion from the outset. Disabled phenomenology addresses ‘subjectivity’ critically, asking: what socio-material arrangements make subjectivity possible in the first place? This project (...) is, I argue, equal parts political economy and existential phenomenology. I conclude with some suggestions for future research. (shrink)

In the Analects (13.18) we find a case that a son reported his sheep-stealing father to the authority, and Confucius and the Duke of She disagreed whether the son was upright or not. This case reflects a conflict of strong and deep intuitions, and it continues to ignite heated debates. In this paper I first try to clarify the nature of this conflict and Confucius’s position, as it has many different interpretations. Next, I examine and articulate a variety of (...) arguments in support of Confucius’s position and classify them into five different types. Of the five arguments, two of them are especially noteworthy: the argument from Goodness and the argument from Social Utility. Both arguments can find strong support in Confucian tradition, and many historical arguments are still relevant and insightful today. These arguments also demonstrate the value of Confucian ethics in contemporary society. (shrink)

Psalm 73 is a challenging Psalm in which the Psalmist draws on rich imagery to juxtapose doctrine and experience and to juxtapose the goodness of God with divine retribution. Drawing on data provided by 15 theological educators within the Anglican Diocese of Cyprus and the Gulf, this study tests the thesis that the imagery of Psalm 73 will be perceived differently by sensing types and by intuitive types and that the issue ‘Is God really good to the upright?’ will (...) be judged differently by feeling types and by thinking types. The findings from this study are consistent with the broader hermeneutical theory that the psychological type profile of the reader, in terms of perceiving preference and judging preference, plays a formative part in shaping the interpretation of biblical material.Contribution: Situated within the reader-perspective approach to biblical hermeneutics, the SIFT method is concerned with identifying the influence of the psychological type of the reader in shaping the interpretation of text. The present study demonstrates that this theory holds true for the way in which theological educators read Psalm 73. (shrink)

An image of a face depends not only on its shape, but also on the viewpoint, illumination conditions, and facial expression. A face recognition system must overcome the changes in face appearance induced by these factors. This paper investigate two related questions: the capacity of the human visual system to generalize the recognition of faces to novel images, and the level at which this generalization occurs. We approach this problems by comparing the identi cation and generalization capacity for upright (...) and inverted faces. For upright faces, we found remarkably good generalization to novel conditions. For inverted faces, the generalization to novel views was signi cantly worse for both new illumination and viewpoint, although the performance on the training images was similar to the upright condition. Our results indicate that at least some of the processes that support generalization across viewpoint and illumination are neither universal (because subjects did not generalize as easily for inverted faces as for upright ones), nor strictly objectspeci c (because in upright faces nearly perfect generalization was possible from a single view, by itself insu cient for building a complete object-speci c model). We propose that generalization in face recognition occurs at an intermediate level that is applicable to a class of objects, and that at this level upright and inverted faces initially constitute distinct object classes. (shrink)

What is the nature of, and what is the relationship between, external objects and our visual perceptual experience of them? In this book, Frank Jackson defends the answers provided by the traditional Representative theory of perception. He argues, among other things that we are never immediately aware of external objects, that they are the causes of our perceptual experiences and that they have only the primary qualities. In the course of the argument, sense data and the distinction between mediate (...) and immediate perception receive detailed defences and the author criticises attempts to reduce perceiving the believing and to show that the Representative theory makes the external world unknowable. Jackson recognises that his views are unfashionable but argues in detail that they are to be preferred to their currently favoured competitors. It will become an obvious point of reference for all future work on the philosophy of perception. (shrink)