Examination of visual images in evening network television stories about 5 environmental catastrophes indicates that news producers usually ignored their own network's policies about identifying news footage from advocacy groups and almost always ignored their own network's policies about labeling file hotage. In some unlabeled footage was used in symbolic ways that would not substantially mislead viewers. In other cases, unlabeled video suggested the persistence of a catastrophic reality that had not existed for as long as 4 years.

In “Image, Evidence, Argument,” Ian Dove defends an intriguing ‘middle ground’ between those who argue that there are “visual arguments” and skeptics who argue that there are not. I discuss one of Dove’s key examples, proposing a different analysis of it, arguing that there are problems with the “verbal repackaging” of the argument he suggests.

Newton da Costa and Steven French have argued that the concept of partial truth plays an important role in our understanding of significant aspects of scientific practice: from the status of scientific theories through the understanding of inconsistency in science to the nature of induction. In this paper, I use the concept of partial truth and the associated framework of partial structures to offer a formulation of the concept of visual evidence, and I examine some of the roles (...) that this notion plays in scientific activity. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 216 Seiten: 63-88.

Journal Name: Semiotica Issue: Ahead of print.

The formal beginning of comedy is firmly dated to the Dionysia of 486 B.C.E.1 For what preceded it there were at least three ancient candidates: phallic processions, Doric comedy and Susarion. Each is supported by visual evidence of the sixth century B.C.E., each explains certain features of Old Comedy, but all have some anomalies as well. Striking is how many forms of performance attested in the sixth century contained comic elements. All these other forms ceased with the introduction (...) of comedies to the Dionysia in 486 B.C.E., which coincides with the ascendancy of the demos; yet it was not until forty years later that comedy becomes unabashedly political. (shrink)

Barbara McClintock won the Nobel Prize in 1983 for her discovery of mobile genetic elements. Her Nobel work began in 1944, and by 1950 McClintock began presenting her work on "controlling elements." McClintock performed her studies through the use of controlled breeding experiments with known mutant stocks, and read the action of controlling elements (transposons) in visible patterns of pigment and starch distribution. She taught close colleagues to "read" the patterns in her maize kernels, "seeing" pigment and starch genes turning (...) on and off. McClintock illustrated her talks and papers on controlling elements or transposons with photographs of the spotted and streaked maize kernels which were both her evidence and the key to her explanations. Transposon action could be read in the patterns by the initiated, but those without step by step instruction by McClintock or experience in maize often found her presentations confusing. The photographs she displayed became both McClintock's means of communication, and a barrier to successful presentation of her results. The photographs also had a second and more subtle effect. As images of patterns arrived at through growth and development of the kernel, they highlight what McClintock believed to be the developmental consequences of transposition, which in McClintock's view was her central contribution, over the mechanism of transposition, for which she was eventually recognized by others. Scientific activities are extremely visual, both at the sites of investigation and in communication through drawings, photographs, and movies. Those visual messages deserve greater scrutiny by historians of science. (shrink)

Unilateral neglect stems from a relatively selective impairment of exogenous, or stimulus-related, orienting of attention. This neuropsychological evidence parallels “change blindness” experiments, in which normal individuals lack awareness of salient details in the visual scene as a consequence of their attention being exogenously attracted by a competing event, suggesting that visual consciousness requires the integrity of exogenous orienting of attention.

One property of the emulator framework presented by Grush is that imagery operates off-line. Contrary to this viewpoint, we present evidence showing that mental rotation of a simple figure modulates low-level features of drawing articulation. This effect is dependent upon the type of rotation, suggesting a more integrative online role for imagery than proposed by the target article.

This paper is an attempt to identify a functional division of labour in art studies. To that end I have adopted the strategically minimalist approach advocated by Philip McShane in Method in Theology: Revisions and Implementations (2007).

In Chinese orthography, the most common character structure consists of a semantic radical on the left and a phonetic radical on the right ; the minority, opposite arrangement also exists. Recent studies showed that SP character processing is more left hemisphere lateralized than PS character processing. Nevertheless, it remains unclear whether this is due to phonetic radical position or character type frequency. Through computational modeling with artificial lexicons, in which we implement a theory of hemispheric asymmetry in perception but do (...) not assume phonological processing being LH lateralized, we show that the difference in character type frequency alone is sufficient to exhibit the effect that the dominant type has a stronger LH lateralization than the minority type. This effect is due to higher visual similarity among characters in the dominant type than the minority type, demonstrating the modulation of visual similarity of words on hemispheric lateralization. (shrink)

Cet ouvrage collectif, fruit d'un colloque tenu au College Saint Hilda d'Oxford au cours de l'été 1993, réunit quatorze contributions qui ont pour point commun d'interroger la relation entre la femme et le livre au Moyen Age exclusivement à partir des images. D'où la participation de la British Library qui accueille ce volume dans sa série consacrée à l'exploration et à la valorisation des manuscrits médiévaux. Le livre est divisé en trois parties : la première est consacrée aux images...

The notion that visual attention can operate over visual objects in addition to spatial locations has recently received much empirical support, but there has been relatively little empirical consideration of what can count as an `object' in the ®rst place. We have investi- gated this question in the context of the multiple object tracking paradigm, in which subjects must track a number of independently and unpredictably moving identical items in a ®eld of identical distractors. What types of feature (...) clusters can be tracked in this manner? In other words, what counts as an `object' in this task? We investigated this question with a technique we call target merging: we alter tracking displays so that distinct target and distractor loca- tions appear perceptually to be parts of the same object by merging pairs of items (one target with one distractor) in various ways ± for example, by connecting item locations with a simple line segment, by drawing the convex hull of the two items, and so forth. The data show that target merging makes the tracking task far more dif®cult to varying degrees depending on exactly how the items are merged. The effect is perceptually salient, involving in some conditions a total destruction of subjects' capacity to track multiple items. These studies provide strong evidence for the object-based nature of tracking, con®rming that in some contexts attention must be allocated to objects rather than arbitrary collections of features. In addition, the results begin to reveal the types of spatially organized scene components that can be independently attended as a function of properties such as connectedness, part struc- ture, and other types of perceptual grouping. q 2001 Elsevier Science B.V. All rights reserved. (shrink)

Rhythm perception involves strong auditory-motor connections that can be enhanced with movement. However, it is unclear whether just seeing someone moving to a rhythm can enhance auditory-motor coupling, resulting in stronger entrainment. Rhythmic priming studies show that presenting regular rhythms before naturally spoken sentences can enhance grammaticality judgments compared to irregular rhythms or other baseline conditions. The current study investigated whether introducing a point-light figure moving in time with regular rhythms could enhance the rhythmic priming effect. Three experiments revealed that (...) the addition of a visual cue did not benefit rhythmic priming in comparison to auditory conditions with a static image. In Experiment 1, grammaticality judgments were poorer after audio-visual regular rhythms compared to auditory-only regular rhythms. In Experiments 2 and 3, there was no difference in grammaticality judgments after audio-visual regular rhythms compared to auditory-only irregular rhythms for either a bouncing point-light figure or a swaying point-light figure. Comparison of the observed performance with previous data suggested that the audio-visual component removed the regular prime benefit. These findings suggest that the visual cues used in this study do not enhance rhythmic priming and could hinder the effect by potentially creating a dual-task situation. In addition, individual differences in sensory-motor and social scales of music reward influenced the effect of the visual cue. Implications for future audio-visual experiments aiming to enhance beat processing, and the importance of individual differences will be discussed. (shrink)

Silent gesture is not considered to be linguistic, on par with spoken and sign languages. It is claimed that silent gestures, unlike language, represent events holistically, without compositional structure. However, recent research has demonstrated that gesturers use consistent strategies when representing objects and events, and that there are behavioral and clinically relevant limits on what form a gesture may take to effect a particular meaning. This systematicity challenges a holistic interpretation of silent gesture, which predicts that there should be no (...) stable form‐meaning correspondence across event representations. Here, we demonstrate to the contrary that untrained gesturers systematically manipulate the form of their gestures when representing events with and without a theme (e.g., Someone popped the balloon vs. Someone walked), that is, transitive and intransitive events. We elicited silent gestures and annotated them for manual features active in coding transitivity distinctions in sign languages. We trained linear support vector machines to make item‐by‐item transitivity predictions based on these features. Prediction accuracy was good across the entire dataset, thus demonstrating that systematicity in silent gesture can be explained with recourse to subunits. We argue that handshape features are constructs co‐opted from cognitive systems subserving manual action production and comprehension for communicative purposes, which may integrate into the linguistic system of emerging sign languages. We further suggest that nonsigners tend to map event participants to each hand, a strategy found across genetically and geographically distinct sign languages, suggesting the strategy's cognitive foundation. (shrink)

Corballis suggests that apes lack voluntary control over their vocal production. However, recent evidence implicates voluntary control of vocalizations in apes, which suggests that intentional control of vocal communication predates the hominid-pongid split. Furthermore, the ease with which apes in captivity manipulate the visual attention of observers implies a common cognitive basis for joint attention in humans and apes.

Experiments are presented showing that visual search for Mueller-Lyer (ML) stimuli is based on complete configurations, rather than component segments. Segments easily detected in isolation were difficult to detect when embedded in a configuration, indicating preemption by low-level groups. This preemption—which caused stimulus components to become inaccessible to rapid search—was an all-or-nothing effect, and so could serve as a powerful test of grouping. It is shown that these effects are unlikely to be due to blurring by simple spatial filters (...) at early visual levels. It is proposed instead that they are due to more sophisticated processes that rapidly bind contour fragments into spatially-extended assemblies. These results support the view that rapid visual search cannot access the primitives formed at the earliest stages of visual processing; rather, it can access only higher-level, more ecologically-relevant structures. (shrink)

The human experience is shaped by information from different perceptual channels, but it is still debated whether and how differential experience influences language use. To address this, we compared congenitally blind, blindfolded, and sighted people's descriptions of the same motion events experienced auditorily by all participants (i.e., via sound alone) and conveyed in speech and gesture. Comparison of blind and sighted participants to blindfolded participants helped us disentangle the effects of a lifetime experience of being blind versus the task-specific effects (...) of experiencing a motion event by sound alone. Compared to sighted people, blind people's speech focused more on path and less on manner of motion, and encoded paths in a more segmented fashion using more landmarks and path verbs. Gestures followed the speech, such that blind people pointed to landmarks more and depicted manner less than sighted people. This suggests that visual experience affects how people express spatial events in the multimodal language and that blindness may enhance sensitivity to paths of motion due to changes in event construal. These findings have implications for the claims that language processes are deeply rooted in our sensory experiences. (shrink)

The issue of shifting scales between the microscopic and the macroscopic dimensions is a recurrent one in the history of science, and in particular the history of microscopy. But it took on new dimensions in the context of early twentieth-century microscophysics, with the progressive realisation that the physical laws governing the macroscopic world were not always adequate for describing the sub-microscopic one. The paper focuses on the researches of Jean Perrin in the 1900s, in particular his use of Brownian motion (...) to produce evidence of the existence of atoms and in favour of the kinetic theory. His results were described by many contemporaries, and subsequently by historians, as the first direct proof of atomic and molecular reality. The paper examines the different strategies developed by Perrin for bridging the macro and sub-microphysical realms and making the latter accessible to the senses; even though neither atoms nor molecules were ever actually seen, and in fact very few visual representations were shown and published in connection with these experiments. This case provides a good example of how visualizing, representing and convincing could be interwoven in the production of evidence about the sub-microphysical realm circa 1900.Keywords: Jean Perrin; Brownian motion; Ultramicroscope; Evidence; Atom; Atomism. (shrink)

Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The (...) mass migration and the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

In this article I analyse the extent to which there has been a shift in the cultural turn in legal scholarship and specifically from visual to what I call material jurisprudence, that is from visual to material ways of knowing law. I do so through an analysis of Desmond Manderson’s edited collection, Law and the Visual: Representations, Technologies, Critique, and Katherine Biber’s monograph, In Crime’s Archive: The Cultural Afterlife of Evidence. Inspired by the material turn in (...) the arts and humanities I apply a material lens as defined by historians of emotions working within this turn to these books. Using this lens, I analyse the extent to which the authors conceptualise and analyse their primary sources in material terms. In so doing it is my intention to encourage scholars of visual jurisprudence to consider the multisensorial nature of law by considering the material as a constitutive part or instead of the visual as has happened elsewhere in the arts, humanities and social sciences, as well as to do so with greater specificity and depth. (shrink)