Summary Based on Clausius’ phrasing of a “transformational content” and the resulting 2nd law of thermodynamics, I demonstrated that Gilbert Simondon’s On the Mode of Existence of Technical Objects is historically situated at the threshold of understanding open systems thermodynamics and the related concepts of balance. Furthermore, I showed that Gestalt theory, as represented by Wolfgang Köhler, at least reproduced, if not partially anticipated or even prepared this development of 20th century thinking. Finally, I gave some short examples of how (...) Simondon applied the figure/ground distinction to human perception, memory, and a general theory of becoming and I introduced his proposal to analyse “the grounds” just as thoroughly as the laws of figuration. (shrink)

Figure-Ground Duality in Humour: A Multi-Modal Perspective Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; (...) indeed, the vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication—whether words, gestures or pictorial elements—with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal. (shrink)

The laws which predict how the perceptual quality of figure-ground can be extracted from the most elementary visual signals were discovered by the Gestaltists, and form an essential part of their movement (see especially Metzger, 1930, and Wertheimer, 1923 translated and re-edited by Lothar Spillmann, 2009 and 2012, respectively). Distinguishing figure from ground is a prerequisite for perception of both form and space (the relative positions, trajectories, and distances of objects in the visual field. The human (...) brain has an astonishing capacity for selecting and combining a few critical visual signals to accurately represent both form and space. (shrink)

A fundamental fact about human minds is that they are never truly alone: all minds are steeped in situated interaction. That social interaction matters is recognized by any experimentalist who seeks to exclude its influence by studying individuals in isolation. On this view, interaction complicates cognition. Here, we explore the more radical stance that interaction co-constitutes cognition: that we benefit from looking beyond single minds toward cognition as a process involving interacting minds. All around the cognitive sciences, there are approaches (...) that put interaction center stage. Their diverse and pluralistic origins may obscure the fact that collectively, they harbor insights and methods that can respecify foundational assumptions and fuel novel interdisciplinary work. What might the cognitive sciences gain from stronger interactional foundations? This represents, we believe, one of the key questions for the future. Writing as a transdisciplinary collective assembled from across the classic cognitive science hexagon and beyond, we highlight the opportunity for a figure-ground reversal that puts interaction at the heart of cognition. The interactive stance is a way of seeing that deserves to be a key part of the conceptual toolkit of cognitive scientists. (shrink)

We propose a new masking technique for masking word stimuli. Drawing on the phenomena of metacontrast and paracontrast, we alternately presented two prime displays of the same word with the background color in one display matching the font color in the other display and vice versa. The sequence of twenty alterations was sandwich-masked by structure masks. Using this masking technique, we conducted evaluative priming experiments with positive and negative target and prime words. Significant priming effects were found – for primes (...) and targets drawn from the same as well as from different word sets. Priming effects were independent of prime discrimination performance in direct tests and they were still significant after the sample was restricted to those participants who showed random responding in the direct test. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization (...) has remained unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

One hundred years after Gestalt views first took hold our understanding of how perceptual processes organize the visual field into objects and their local backgrounds has progressed substantially. We now know that in addition to the image-based properties that the Gestalt psychologists identified as relevant, a myriad of other image-based factors influence figure–ground organization, as do subjective factors such as past experience, attention, and intentions. Moreover, properties of grounds as well as properties of figures play a role. The (...) recent use of indirect measures and brain imaging techniques has revealed that there is much more processing of the regions ultimately perceived as grounds than is supposed in traditional approaches, and that competition and feedback are involved in figure–ground organization. These recent advances offer great promise for uncovering the mechanisms that organize the visual field into figures and grounds. (shrink)

This paper is a systematic investigation of motion expressions in programmatic music description. To address issues with defining the Source MOTION and the Target MUSIC, we utilize Gestalt models (Figure-Ground and Source-Path-Goal) while also critically examining the ontological complexity of the Target MUSIC. We also investigate music motion descriptions considering the role of the describer’s perspective and communicative goals. As previous research has demonstrated, an attentional Goal-bias is common in physical motion description, yet this has been found also (...) to lessen due to audience accommodation effects. We investigate whether this also occurs in music description. Using cognitive linguistic frameworks, we conducted an analysis of 21 English speakers’ written descriptions of dynamic orchestral excerpts. All participants gave a description of one excerpt reporting their own personal experiences and the other excerpt reporting the events of the excerpt for a fictional future participant. We find that addressee accommodation shapes the choice of the ontological types of Figures used from being more subjective and creative in describing music for oneself versus being more objective in describing music for others. However, our investigation does not find sufficient evidence for a Goal-bias in music like there is in physical motion event descriptions. (shrink)

A broad evolutionary perspective is essential to fully reverse figure and ground in the rationality debate. Humans' evolved psychological architecture was designed to produce inferences that were adaptive, not normatively logical. This perspective points to several predictable sources of errors in modern laboratory reasoning tasks, including inherent, systematic biases in information-processing systems explained by Error Management Theory.

ABSTRACT Effective communication relies on the use of rhetorical devices and strategies to make ideas present in the minds of an audience. By employing the concept of cognitive environments, we can use the visual analogy of making an idea “present” to its fullest effect, empowering our rhetorical skills and helping influence audience reception. In this article, the author argues that while cognitive environments do indeed provide a significant and important conceptual tool for understanding and anticipating an audience’s experiences, beliefs, and (...) knowledge, a more robust sense of agreement is necessary. The article proposes the concept of a topos that serves as a shared meeting place within cognitive environments within which both author and audience contribute their background assumptions to find common ground and commonalities in interpretations. It is in figuring the topos effectively that cognitive environments can be more accurately and effectively mapped onto each other, and breaches between such environments can be productively bridged. (shrink)

Although symmetry has been discussed in terms of a major law of perceptual organization since the early conceptual efforts of the Gestalt school (Wertheimer, Metzger, Koffka and others), the first quantitative measurements testing for effects of symmetry on processes of Gestalt formation have seen the day only recently. In this study, a psychophysical rating study and a “foreground”-“background” choice response time experiment were run with human observers to test for effects of bilateral symmetry on the perceived strength of figure- (...) class='Hi'>ground in triangular Kanizsa configurations. Displays with and without bilateral symmetry, identical physically-specified-to-total contour ratio, and constant local contrast intensity within and across conditions, but variable local contrast polarity and variable orientation in the plane, were presented in a random order to human observers. Configurations with bilateral symmetry produced significantly stronger figure-ground percepts reflected by greater subjective magnitudes and consistently higher percentages of “foreground” judgments accompanied by significantly shorter response times. These effects of symmetry depend neither on the orientation of the axis of symmetry, nor on the contrast polarity of the physical inducers. It is concluded that bilateral symmetry, irrespective of orientation, significantly contributes to the, largely sign-invariant, visual mechanisms of figure-ground segregation that determine the salience of figure-ground in perceptually ambiguous configurations. (shrink)

Cross-referencing neurobiological knowledge with the invariance hypothesis, relevance theory, and frame semantics, Metaphor from the Ground Up: Understanding Figurative Language in Context unifies metaphor theory, fundamentally rethinks “context,” and moves linguistics into the twenty-first century.

Engagement is important to the success of applications, systems and artefacts as diverse as robotics, pedagogy, games, interactive installations, and virtual reality applications. Yet engagement has proved to be remarkably difficult to define as it can take many forms, so many that it is difficult to isolate what these different instantiations have in common. Instead of pursuing an empirical perspective, the human side of engagement, namely, involvement is considered from a broadly Heideggerian perspective. As Heidegger has a deserved reputation for (...) philosophical obscurity, all of the concepts adopted from his work are mapped onto the more familiar languages and vocabularies of psychology, human–computer interaction and cognitive science. It is argued that technology is engaging and our response to it is to be involved (with it). This resulting involvement–engagement dyad is thus an explicitly holistic account recognising roles for affordance, purpose, identity, affect and embodiment. (shrink)

This paper argues that twentieth-century philosopher Cornelius Castoriadis’ innovative concept of imagination is closely related to his treatments of dance. More specifically, it revolves around his concept of “figure,” which thereby suggests a productive partnership with my own philosophy of dance, which I call “Figuration.” The first and second sections below review the interpretations of Castoriadis’ imagination in the two book manuscripts on him in English, Jeff Klooger’s Psyche, Society Autonomy (which supplements Castoriadis with Fichte) and Suzi Adams’ Castoriadis’ (...) Ontology (which supplements him with hermeneutics). My final section defends Castoriadis against these two critical supplements through a close reading of his magnum opus, The Imaginary Institution of Society. There I re-choreograph Castoriadis’ use of the Freudian concept of “leaning on” (Anlehnung, from the Greek anaclisis) as “bending back” (anaclasis, following Klooger’s misspelling of anaclisis). In short, the imagination is like a dancer, bending back to nature understood as “the region which resists” (to varying degrees) the social. (shrink)

I ask whether figure-ground structure can be realized in touch, and, if so, how. Drawing on the taxonomy of touch sketched in Katz's 1925 The World of Touch, I argue that the form of touch that is relevant to such consideration is a species of immersed touch. I consider whether we can feel the space we are immersed in and, more specifically, the empty space against which the surfaces of objects, as I shall urge, “stand out.” Harnessing M. (...) G. F. Martin's account of bodily awareness and touch, I defend a positive thesis, pace Graham Nerlich on whose The Shape of Space I otherwise rely, both to defend the supposition that empty space can in principle be felt and to argue that touching empty space is not a mere species of absence perception. Along the way, I defuse a causal worry that might be thought to arise in the case of touching empty space. (shrink)

There is something special about holes that can be analyzed in terms of their existence, their structure, and their visual properties. Interest in holes, therefore, crosses the boundaries of different disciplines. This chapter will discuss holes and how they are processed by the visual system. Visual holes have proved themselves useful in the study of perception and of figure-ground organization in particular.