A 37,641-word exegesis for thesis "sur travaux". Includes: Research methodology; "Expositions des textes"; Paralogisms for scholars; Conference, exhibition, and research tour details and itineraries. -/- PhD (Doctor of Philosophy) – Deakin University – 2011-2014 – Thesis by Publication (“sur travaux”): “Visual Agency in Art and Architecture” – Two monographs: Dossier Chris Marker: The Suffering Image (2012); and Not-I/Thou: The Other Subject of Art and Architecture (2014) – Two curated, multimedia group exhibitions: “‘Shadow-lands’: The Suffering Image” (2012), Dennys Lascelles (...) Gallery, Alfred Deakin Prime Ministerial Library, Deakin University; and “‘Shadow-lands’ II: Not-I/Thou” (2014), Dennys Lascelles Gallery, Alfred Deakin Prime Ministerial Library, Deakin University – Two archival submissions: “DCM Bequest” (2012), research dossier, Australian Film Institute/RMIT; “Shadow-lands”: The Suffering Image (2012), limited-edition, hand-made folio (exhibition dossier), Alfred Deakin Prime Ministerial Library, Deakin University, and St. Paschal Library, Yarra Theological Union – Supervision: David Jones, John Rollo, and Flavia Marcello – External examination: Tom Conley, Harvard University, Cambridge, MA, USA; Suzana Milevska, Academy of Fine Arts, Vienna, Austria; and Anonymous, Australia – Research conducted in Australia, England, France, Croatia, and Slovenia – Seven conferences attended in Australia (3), England (2), Italy (1), and Greece (1). (shrink)

How do individuals guide their activities towards some goal? Harry Frankfurt once identified the task of explaining guidance as the central problem in action theory. An explanation has proved to be elusive, however. In this paper, I show how we can marshal empirical research to make explanatory progress. I contend that human agents have a primitive capacity to guide visual attention, and that this capacity is actually constituted by a sub-individual psychological control-system: the executive system. I thus illustrate how (...) we can explain exercises of individual-level guidance by appeal to its sub-individual constitution. This opens up a new avenue for explicating agency. (shrink)

The sense of agency is a subjective feeling that one's own actions drive action outcomes. Previous studies have focused primarily on the temporal contingency between actions and sensory inputs as a possible mechanism for the sense of agency. However, the contribution of the integrity of visual inputs has not been systematically addressed. In the current study, we developed a psychophysical task to examine the role of visual inputs as well as temporal contingencies toward the sense of (...) agency. Specifically, participants were required to track a target on a sinusoidal curve on a computer screen. Visual integrity of sensory inputs was manipulated by gradually occluding a computer cursor, and participants were asked to report the sense of agency on a nine-point Likert scale. Temporal contingency was manipulated by varying the delay between finger movements on a touchpad and cursor movements. The results showed that the sense of agency was influenced by both visual integrity and temporal contingency. These results are discussed in the context of current models that have proposed that the sense of agency emerges from the comparison of visual inputs with motor commands. (shrink)

Recent research exploring phenomena such as change blindness, inattentional blindness, attentional blink and repetition blindness has revealed a number of counterintuitive ways in which apparently salient visual stimuli often go unnoticed. In fact, large majorities of subjects sometimes predict that they would detect visual changes that actually are rarely noticed, suggesting that people have strong beliefs about visual experience that are demonstrably incorrect. However, for other kinds of visual metacognition, such as picture memory, people underpredict performance. (...) This paper describes two experiments demonstrating that both these overpredictions of change detection, and underpredictions of visual memory can be linked with intuitions about the visual experience of different kinds of agents. Subjects predicted more visual change detection and poorer visual memory for mechanical representational systems when these were anthropomorphized using intentional terminology. (shrink)

There have been only sporadic attempts to understand Chinese women’s role and influence in the field of visual arts, even though their contribution has been major. This article highlights the significance of women’s participation in modern Chinese culture through the works of several contemporary Chinese women artists who have been professionally active in visual arts in the last two decades. Using an interdisciplinary framework, drawing on concepts from theories of feminism, modernism and postcolonialism, this article seeks to understand (...) a culturally specific field in the history of art, and the relationship of various factors that have contributed to it. (shrink)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art (...) and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)

The sense of agency is a basic feature of our subjective experience. Experimental studies usually focus on either its attributional aspects or on its motoric aspects. Here, we combine both aspects and focus on the subjective experience of the time between action and effect. Previous studies [Haggard, P., Aschersleben, G., Gehrke, J., & Prinz, W.. Action, binding and awareness. In W. Prinz, & B. Hommel, Common mechanisms in perception and action: Attention and performance. Oxford: Oxford University Press] have shown (...) a temporal attraction in the perceived times of actions and effects, but did directly not study the relation between them. In three experiments, time estimates of an interval between an action and its subsequent sensory effect were obtained. The actions were either voluntary key press actions performed by the participant or kinematically identical movements applied passively to the finger. The effects were either auditory or visual events or a passive movement induced to another finger. The results first indicated a shortening of the interval between one’s own voluntary action and a subsequent effect, relative to passive movement conditions. Second, intervals initiated by observed movements, either of another person or of an inanimate object, were always perceived like those involving passive movements of one’s own body, and never like those involving active movements. Third, this binding effect was comparable for auditory, somatic and visual effects of action. Our results provide the first direct evidence that agency involves a generalisable relation between actions and their consequences, and is triggered by efferent motor commands. (shrink)

In response to Mole 2009, I present an argument for zombie action. The crucial question is not whether but rather to what extent we are zombie agents. I argue that current evidence supports only minimal zombie agency.

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

Power differentials are a ubiquitous feature of social interactions and power has been conceptualised as an interpersonal construct. Here we show that priming power changes the sense of agency, indexed by intentional binding. Specifically, participants wrote about episodes in which they had power over others, or in which others had power over them. After priming, participants completed an interval estimation task in which they judged the interval between a voluntary action and a visual effect. After low-power priming, participants (...) judged intervals to be significantly longer than judgments after high-power or no priming. Thus, intentional binding was significantly changed by low-power, suggesting that power reduces the sense of agency for action outcomes. Our results demonstrate a clear intrapersonal effect of power. We suggest that intentional binding could be employed to assess agency in individuals suffering from anxiety and depression, both of which are characterised by reduced feelings of personal control. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the (...) “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Sense of agency can be defined as the self-awareness of bodily movement, whereas extended agency as the self-awareness of affecting, through movement, events concomitant with movement. As a distinctive manifestation of agency, we review Spizzo's effect. This effect arises when agents coordinate their rhythmic movements with visual pulses. Once coordination is established, agents feel controlling the onset or the offset of the pulses through their movements. Spizzo's effect, therefore, constitutes a manifest case of extended agency, (...) in which agents are aware of controlling, through movement, the pulses temporally concomitant with movement. We propose that sense of agency requires continuity of kinesthesia, which in turn requires the continuity of selfhood. The continuity of kinesthesia is necessarily deduced from the consistent kinematics observed in movements, whereas the continuity of selfhood may stem from the patterns of rhythmic coordination that humans encounter ever since intrauterine life. The primacy of these patterns in adults is in accordance with phenomena such as Spizzo's effect, which require coordination to be induced. We, therefore, propose coordination as the fundamental interaction from which selfhood, kinesthesia, and agency arise. (shrink)

We investigated how motor agency in the voluntary control of body movement influences body awareness. In the Rubber Hand Illusion , synchronous tactile stimulation of a rubber hand and the participant’s hand leads to a feeling of the rubber hand being incorporated in the participant’s own body. One quantifiable behavioural correlate of the illusion is an induced shift in the perceived location of the participant’s hand towards the rubber hand. Previous studies showed that the induced changes in body awareness (...) are local and fragmented: the proprioceptive drift is largely restricted to the stimulated finger. In the present study, we investigated whether active and passive movements, rather than tactile stimulation, would lead to similarly fragmented body awareness. Participants watched a projected image of their hand under three conditions: active finger movement, passive finger movement, and tactile stimulation. Visual feedback was either synchronous or asynchronous with respect to stimulation of the hand. A significant overall RHI, defined as greater drifts following synchronous than asynchronous stimulation, was found in all cases. However, the distribution of the RHI across stimulated and non-stimulated fingers depended on the kind of stimulation. Localised proprioceptive drifts, specific to the stimulated finger, were found for tactile and passive stimulation. Conversely, during active movement of a single digit, the proprioceptive drifts were not localised to that digit, but were spread across the whole hand. Whereas a purely proprioceptive sense of body-ownership is local and fragmented, the motor sense of agency integrates distinct body-parts into a coherent, unified awareness of the body. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and Capitalism:Rhetorical Agency as Communicative LaborRonald Walter GreeneIt is a commonplace to describe rhetorical agency as political action. From such a starting point, rhetorical agency describes a communicative process of inquiry and advocacy on issues of public importance. As political action, rhetorical agency often takes on the characteristics of a normative theory of citizenship; a good citizen persuades and is persuaded by the gentle (...) force of the better argument. More radical visions of argument might include strikes, sit-ins, and boycotts in the rhetorical arsenal of good citizenship, and some might even flirt with violence as rhetorical action. This model of rhetorical agency requires a translation of the conceptual apparatus of rhetoric and its alignment with the problematics of democratic theory and actually existing democratic regimes. Classical models that hoped to harness rhetorical agency to the making of the "orator-statesman" (sic) must reimagine political participation in terms of publics and counterpublics, social movements, electoral campaigns, communication media and technologies, as well as supra- and sub-national institutional settings. As the classical norms of citizenship rub against (post) modern realities, a permanent anxiety over the meaning and potential of rhetorical agency seems destined to be lodged in the critical imagination of rhetorical studies. If politics today is, in Jodi Dean's words, "a domain of financially mediated and professionalized practices centered on advertising, public relations, and the means of mass communication," then actually existing rhetorical agency manifests itself in efforts to "raise the money, buy the television time, register the domain names, build the website, and craft the accessible, user-friendly, spectacular message" (2003, 96).If we recognize Dean's description of the political as an accurate description of the rhetorical situation today, rhetorical studies is left with three strategies: It can refashion a deliberative vision of rhetorical agency into a normative ideal for critiquing the structural conditions (capital, media [End Page 188] concentration) of political participation. Second, it can enlarge the field of normatively acceptable ways and means of political participation, for example, by embracing the more spectacular politics associated with visual and body rhetorics. Finally, rhetorical studies can work on the "demand" side and design new strategies and tactics for activating the rhetorical participation of citizens, for example, by encouraging the creation of communicative norms necessary for reinvigorating voluntary and civic organizations. However, while each of these approaches provides a research agenda, none of them gets at the root cause of the anxiety over agency: the attachment of rhetorical agency to a vision of political change. The anxiety over agency pushes rhetorical critics and theorists into becoming moral entrepreneurs scolding, correcting, and encouraging the body politic to improve the quality and quantity of political participation.The purpose of this paper is to offer an escape route from theorizing rhetorical agency as a model of political communication.1 In opposition to a political-communicative vision of rhetorical agency, this paper suggests a different materialist ontology, one that imagines rhetorical agency as a form of living labor. I will argue that rhetorical agency belongs to the domain of communicative labor, a form of labor increasingly necessary to the workings of contemporary capitalist production. In other words, I want to replace a political-communicative model of rhetorical agency with a materialist-communicative model. To highlight the similarities and differences between the two models, I will focus on how the interface between politics, communication, and economics plays out in the Marxist tradition of rhetorical studies. I will organize this tradition into two sections: the first, represented by James Aune, advocates a hermeneutic approach to rhetorical agency, and the second, represented by Dana Cloud, argues for imagining rhetorical agency as a class-based social movement. By focusing on the work of my comrades, the paper risks being received as a "left sectarian" polemic.2 As I will demonstrate in each section, the problem with these two approaches has less to do with Marxism and more to do with how they turn to hermeneutics and social movements to imagine rhetorical agency in the idiom of communication theory. In the third section of the paper I will resituate rhetorical agency into a materialist ontology of labor and capitalist production. In so... (shrink)

Using the exemplary case of 19th-century American state penitentiaries, the authors explore penitentiary control from the perspective of sensing agents who navigate a controlled sensory ecology – the prison, as structured by institutional rules, differential power relations, and architectural plans. Moving beyond Foucault’s Discipline and Punish and Goffman’s Asylums, they stress a pragmatist approach to understanding human sensing and explain inmates’ creativity under constraints. Employing wardens’ disciplinary journals and other secondary reports, the article emphasizes three theoretical issues that explain why (...) Panoptical prisons’ attempts to control sense experiences can sometimes fail: architectural designs that inadequately negotiate the contradictory demands of visual and acoustic control; inmates’ active mobilization of perceptible objects as means of resistance; and power differences between prison authorities and inmates that prevent actors from sharing a common sensory field. The authors’ overarching goal is to advance, via pragmatism, a sensory analysis of institutional control. (shrink)

The ability to distinguish between our own actions and those of an external agent is a fundamental component of normal human social interaction. Both low- and high-level mechanisms are thought to contribute to the sense of movement agency, but the contribution of each is yet to be fully understood. By applying small and incremental perturbations to realistic visual feedback of the limb, the influence of high-level action intentions and low-level motor predictive mechanisms were dissociated in two experiments. In (...) the first, participants were induced to claim agency over movements that were subject to large perturbations and to deny agency over self-produced unperturbed movements despite the application of motor corrections by low-level mechanisms. A control experiment confirmed that if reaches met with their intended goal then they were more likely to be attributed to the agent, regardless of the discrepancy between the actual and seen positions of the limb. (shrink)

Women in the field of art and science have an unquestionable presence worldwide that exceeds their visibility in the general visual art scene. When cataloguing women’s range of practices and exploring their agency in art and science, a new model of inclusivity and access to the public sphere for all individuals working in art emerges. First, these are contributions reflecting on projects being carried out by women in the broadest interpretation of the term – individuals who identify themselves (...) as women, cisgender, non-cisgender, transgender, gender fluid and independent of their sex and gender. Second, these are contributions that reflect on research methodologies, collaboration strategies, knowledge sharing, as well as public vs. personal, embodiment and materiality. (shrink)

This volume brings together a number of previously unpublished essays that will advance the reader's philosophical understanding of specific aspects of causation, agency and moral responsibility. These are deeply intertwined notions, and a large proportion of the volume is taken up by papers that shed light on their mutual connections or defend certain claims concerning them. The volume investigates several important questions, including: Can causation be perceived? If it can, can it be perceived in any way other than visually? (...) Can the interventionist theory developed by James Woodward offer an adequate account of causation? Is a causal relation a necessary condition for moral responsibility? Can there be a responsibility difference without a causal difference? Are causal ascriptions based on the more primitive language game of blame ascriptions? What can be learnt from the analogy between causal interference and unbreakable processes, on one side, and motivational interferences and "unbreakable" resolutions, on the other side? How can humans be routinely considered responsible for non-deliberated omissions? Should the connection between moral responsibility and the epistemic conditions usually required for moral responsibility to be obtained be weakened? What is the connection between awareness of one's doing and intentional action? These essays constitute a valid contribution towards the discovery of reasonable answers to such deep questions as the metaphysics of causal relations, the epistemology of causal explanations, the interventionist theory of causation, and the relationship among causality and moral responsibility, willpower, agency and intentional action. (shrink)

This paper addresses two related topics: 1. The disanalogies between elective cosmetic practices and sex reassignment surgery. Why does it seem necessary for me – an aging professional woman – to ignore the blandishments of hairdressers wielding dyes and dermatologists wielding acids and scalpels? Why does it not seem equally necessary for a transgendered person to repudiate sex reassignment procedures? 2. The role of the body in identity and agency. How do phenomenological insights regarding the constitution of selfhood in (...) relation to the interplay between the body image and corporeal know-how contribute to an account of the agency of transgendered individuals? Studying several paintings by contemporary feminist artist Jenny Saville has advanced my thinking on these topics. Saville’s imagery is an invaluable aid to reflection on these issues because she uses her painterly technique, which critics often dub “virtuoso,” to represent lived human bodies. In her work, viewers encounter representations of subjectivized, agentic corporeity, as distinct from inert, objectified flesh. Moreover, her sympathetic engagement with nonconformist, devalued bodies helps to reconfigure the standard gestalts of the human body that viewers typically carry with them and thus to convert fear and/or disgust into appreciation and understanding. In this paper, I consider three of Saville’s paintings. Plan, Saville’s self-portrait as a nude female whose body has been prepped for liposuction, conveys the pathos of this procedure. Matrix is a nude portrait of self-described “gender variant visual artist” Del LaGrace Volcano. In the words of one critic Saville’s depiction of Volcano’s nude intersexed body “restores beauty to the primitive [female] genital organ.” Passage, another nude portrait of an intersexed individual, is an image of vibrant sexuality despite the presumptively jarring juxtaposition of breasts and a penis. I argue that conceiving the agentic subject as a rational deliberative capability that uses a conjoined body as the instrument of its will makes it impossible to theorize the agency of transgendered people. In contrast, when agentic subjects are understood as embodied subjects and embodiment is understood as a dimension of practical intelligence, the agency of transgendered individuals is intelligible. (shrink)

This essay engages an undertheorized form of democratic agency: the embodied spectacle that characterizes a strain of activist politics. Where an existing literature addresses “the spectacle” as a tactic of power, it does not do justice to how marginal groups have used radical bodily acts in order to intervene within the image-world of democratic politics (e.g., hunger strikes, die-ins, self-immolation). The essay argues that such performances represent a standing challenge to democratic theory and demand a more richly sensuous approach (...) to how political claims are made. Such forms of bodily theatre do not only “speak” in ways that exceed official civic discourses but, in so doing, they unsettle the space of citizenship. Ultimately, these bodies do something in being undone. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, (...) south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)

It has been hypothesized that illusory agency detection is at the basis of belief in supernatural agents and paranormal beliefs. In the present study a biological motion perception task was used to study illusory agency detection in a group of skeptics and a group of paranormal believers. Participants were required to detect the presence or absence of a human agent in a point-light display. It was found that paranormal believers had a lower perceptual sensitivity than skeptics, which was (...) due to a response bias to ‘yes’ for stimuli in which no agent was present. The relation between paranormal beliefs and illusory agency detection held only for stimuli with low to intermediate ambiguity, but for stimuli with a high number of visual distractors responses of believers and skeptics were at the same level. Furthermore, it was found that illusory agency detection was unrelated to traditional religious belief and belief in witchcraft, whereas paranormal beliefs were strongly related to illusory agency detection. These findings qualify the relation between illusory pattern perception and supernatural and paranormal beliefs and suggest that paranormal beliefs are strongly related to agency detection biases. (shrink)

This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice. Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016) – a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australia – to underscore the role played by the physical (...) and cultural environment in shaping BW performers’ sense of agency. Through the analysis of salient features of BW methodology, that include the practice of bisoku, slow movement, and the cultivation of an attention to the changing ‘weather’ of the performance ecology, this chapter suggests an ecological notion of agency as a key concept in the study of embodied cognition in performance. The chapter emphasises the relevance of addressing the environment-culture-context situatedness in the study of performance practices. (shrink)

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need to (...) recognize the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, _Visual Pedagogy_ explores the educational applications of visual media in different institutional settings during the past half century. Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil. Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, _Visual Pedagogy_ will be useful to educators, administrators, and activists. (shrink)

Self-initiated action effects are often perceived as less intense than identical but externally generated stimuli. It is thought that forward models within the sensorimotor system pre-activate cortical representations of predicted action effects, reducing perceptual sensitivity and attenuating neural responses. As self-agency and predictability are seldom manipulated simultaneously in behavioral experiments, it is unclear if self-other differences depend on predictable action effect contingencies, or if both self- and externally generated stimuli are modulated similarly by predictability. We factorially combined variation in (...) predictability of action effects, spatial congruence, and performance by the self or computer to dissociate these influences on a visual discrimination task. Participants performed 2AFC speed judgments. Self-initiated motion was judged to be slower than computer-initiated motion when action effect contingencies were predictable, while spatial congruence influenced speed judgments only when action effect contingencies were unpredictable. Results are discussed in relation to current theories of sensory attenuation. (shrink)

This study identifies alternative models for the production of AI-generated images to those currently used by mainstream AI platforms. Based on primitive computational art processes, these systems allow designers to gain greater control over the final visual result while avoiding potential issues with intellectual property theft and breach of privacy. The article starts by analysing the level of artificiality that might be effectively attributed to each part of the creative process involved in the development of AI-generated images. It then (...) moves on to discuss the extent to which individual actors intervene in each of these stages, with the aim of untangling the different subjectivities that would ultimately shape the meaning of AI-generated photographs, and identifying existing AI models that are able to offer practical solutions for every designer to retain creative autonomy over their AI creations. (shrink)

AimsIn this pilot mixed-methods study, we examined the participants experiences of engaging in virtual drawing tasks and the impact of an olfactory stimulus on outcomes of affect, stress, self-efficacy, anxiety, creative agency, and well-being.MethodsThis study used a parallel mixed-methods, simple block randomization design. The study participants included 24 healthy adults aged 18 to 54 years, including 18 women and six men. The participants completed two 1-h immersive virtual art making sessions and were randomly assigned to receive either a fragrance (...) or a non-fragrance condition for the first session. Quantitative and qualitative datasets were collected concurrently and integrated during data analysis.ResultsThe quantitative results indicated that the fragrance condition demonstrated a significant reduction in negative affect, namely, reduced feelings of negativity when compared to the non-fragrance condition. A trend toward improvement in self-efficacy was also seen in the fragrance condition. No significant changes were found for fragrance or non-fragrance conditions for positive affect, anxiety, and creative agency. The qualitative findings included five themes related to art making experiences in virtual reality in both conditions: fun and joy; novelty of virtual media, experimentation, and play; relaxation and calm; learning curve; and physical discomfort and disorientation. Four themes were identified for virtual art content and visual qualities: nature imagery, references to memories and personal symbols, fantasy and play within imagery, and depiction of everyday objects.ConclusionsOverall, the participants reported positive responses to the novel virtual art making experiences which were further heightened by the inclusion of the fragrance stimulus for negative affect. These preliminary findings need to be replicated with larger sample sizes to confirm the outcomes and the trends that were seen in this pilot study. Further research is recommended to examine the differences between experiences of virtual and traditional art media and to examine different olfactory stimuli promoting focus and concentration. (shrink)

Psychologists and philosophers are often tempted to make general claims about the importance of certain experimental results for our commonsense notions of intentional agency, moral responsibility, and free will. It is a strong intuition that if the agent does not intentionally control her own behavior, her behavior will not be an expression of agency, she will not be morally responsible for its consequences, and she will not be acting as a free agent. It therefore seems natural that the (...) interest centers on the notion of intentional control. If it can be experimentally shown that agents do as a matter of fact not control their own actions, even though they think they do, it will have far reaching consequences for our moral psychology. In this paper I look at recent eliminative arguments allegedly demonstrating that our commonsense notion of intentional control is incompatible with experimental data in support of the dual visual stream theory. (shrink)

Tomasello, Kruger & Ratner deserve congratulations for their well-reasoned ideas on the development of cultural learning. Their arguments are generally convincing, perhaps because their distinctions and developmental relations among types of cultural learning and agency mirror concepts of my own.

We investigated whether the inferior parietal lobule (IPL) responds in real-time to multisensory inconsistency during movement. The IPL is thought to be involved in both the detection of inconsistencies in multisensory information obtained during movement and that obtained during self-other discrimination. However, because of the limited temporal resolution of conventional neuroimaging techniques, it is difficult to distinguish IPL activity during movement from that during self-other discrimination. We simultaneously conducted electroencephalography (EEG) and near-infrared spectroscopy (NIRS) with the goal of examining IPL (...) activity with a high spatiotemporal resolution during single reaching movements. Under a visual feedback-delay condition, gamma event-related synchronization (γ-ERS), i.e., an increase in gamma (31–47 Hz) EEG power, occurred during reaching movements. This γ-ERS is considered to reflect processing of information about prediction errors. To integrate this temporal information with spatial information from the NIRS signals, we developed a new analysis technique that enabled estimation of the regions that show a hemodynamic response characterized by EEG fluctuation present in the visual feedback-delay condition. As a result, IPL activity was explained by γ-ERS specific to visual feedback delay during movements. Thus, we succeeded in demonstrating real-time activation of the IPL in response to multisensory inconsistency. However, we did not find any correlation between either IPL activity or γ-ERS with the sense of agency. Therefore, our results suggest that while the IPL is influenced by prediction error signals, it does not engage in direct processing underlying the conscious experience of making a movement, which is the foundation of self-other discrimination. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 213-245.

Feinberg and Mallatt, in their presentation of neurobiological naturalism, have suggested that visual consciousness was acquired by early vertebrates and inherited by a wide range of descendants, and that its neural basis has shifted to nonhomologous nervous structures during evolution. However, their evolutionary scenario of visual consciousness relies on the assumption that visual consciousness is closely linked with survival, which is not commonly accepted in current consciousness research. We suggest an alternative idea that visual consciousness is (...) linked to a specific class of agency, consequently justifying their phylogenetic claim. We also examine the implication of their phylogenetic claim: visual consciousness is homologous across vertebrates, but its neural basis is not. This apparent incongruence illustrates a general phenomenon of homology, and that the resulting hierarchical view of visual consciousness and its neural basis can be straightforwardly accommodated by neurobiological naturalism. Throughout these discussions, we aim to address the potential theoretical issues in neurobiological naturalism and refine the picture illustrated by Feinberg and Mallatt regarding phylogenetic distribution and trajectories of visual consciousness. (shrink)

This chapter investigates the hermeneutics of the signature in Greek and Roman visual culture. Ancient artists, it argues, exploited artistic agency as a meaning-making mechanism. The chapter focusses on the common practice of craftsmen working under the name of a more celebrated artist, taking as a particular case study the Iliac tablets. Created in the first century AD, several associate themselves with the ‘Theodorean techne’. This chapter argues that this is a form of pseudonymity: the creator wished to (...) imbue his work with the authority of an Archaic sculptor. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

In this article we explore and contrast the uses and gratifications of the internet for blind/visually impaired and deaf/hearing impaired individuals. The uses and gratifications approach integrates the different issues that surround disabled persons’ internet use into one rich and coherent framework which allows a better understanding of the relationship between benefits obtained from internet use, underlying needs and the barriers that create gaps between gratifications sought and obtained. Based on 21 in-depth interviews, our study shows that both visually and (...) hearing impaired individuals use the internet mostly for gathering information and for communicating with friends and family; meeting new people online was not a priority need. To a great extent these internet uses are driven by the underlying need for independence and active agency. Although our visually and hearing impaired informants share this need, the two groups differ in the gratifications obtained from the internet due to different barriers that hinder their use. (shrink)

Police officers often encounter potentially dangerous situations in which they strongly rely on their ability to identify threats quickly and react accordingly. Previous studies have shown that practical experience and targeted training significantly improve threat detection time and decision-making performance in law enforcement situations. We applied 90-min traditional firearms training as a control condition and a specifically developed intervention training to police cadets. The intervention training contained theoretical and practical training on tactical gaze control, situational awareness, and visual attention, (...) while the control training focused on precision and speed. In a pre- and posttest, we measured decision-making performance as well as response preparation and execution to evaluate the training. Concerning cognitive performance training, the number of correct decisions increased from pre- to posttest. In shoot scenarios, correct decisions improved significantly more in the intervention group than in the control group. In don’t-shoot scenarios, there were no considerable differences. Concerning the training of response preparation and execution in shoot scenarios, the intervention group’s response time, but not hit time, decreased significantly from pre- to posttest. The control group was significantly faster than the intervention group, with their response and hit time remaining constant across pre- and posttest. Concerning the training of tactical action control, the intervention group performed significantly better than the control group. Moreover, the intervention group improved the tactical handling of muzzle position significantly. The results indicate that a single 90-min session of targeted gaze control and visual attention training improves decision-making performance, response time, and tactical handling of muzzle position in shoot scenarios. However, these faster response times do not necessarily translate to faster hit times – presumably due to the motor complexity of hitting an armed attacker with live ammunition. We conclude that theory-based training on tactical gaze control and visual attention has a higher impact on police officers’ decision-making performance than traditional firearms training. Therefore, we recommend law enforcement agencies include perception-based shoot/don’t-shoot exercises in training and regular tests for officers’ annual firearm requalification. (shrink)

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the diplomatic arena. (...) Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended. (shrink)

We argue that cognitive functions are not reducible to biological functionality. Since only neural animals can develop complex forms of agency, we assume that genuinely cognitive processes are deeply related with the activity of the nervous system. We first analyze the significance of the appearance of the nervous system in certain multicellular organisms, arguing that it has changed the logic of their biological organization. Then, we focus on the appearance of specifically cognitive capacities within the nervous system. Considering a (...) case of a minimal form of perceptual representation, we analyze the specific functional role of this minimal form of activity in relatively earlier nervous systems, arguing that though this role is only understandable within a biological organization, yet it is not reducible to the underlying biological functionality. Finally, we conclude that the appearance of cognition is in turn linked to the emergence of an autonomous neurodynamic domain and a qualitative change in body complexity. (shrink)

When the International Atomic Energy Agency (IAEA) began operations in 1958, one of its first routine tasks was to create and circulate a brief non-technical periodical. This article analyses the creation of theIAEA Bulletinand its circulation during its first years. It finds that diplomatic imperatives both in IAEA leadership circles and in the networks outside them shaped the form and appearance of the bulletin. In the hands of the IAEA's Division of Public Information, the bulletin became an instrument of (...) science diplomacy, its imagery conveying the motivations for member states to strengthen ties with the IAEA, while simultaneously persuading them to accept the hierarchies and geopolitical logics implicit in those relations, as well as to endorse the central position of the IAEA as a clearing house and authority of globally circulating nuclear objects and information. (shrink)

My two-year experience with post-doctoral limbo has been categorically thrilling and appalling, at once. Upon finishing a PhD at Deakin University, in Australia, in June 2014 (meaning submitting my dissertation “Visual Agency in Art and Architecture” for external review), and having barely subsisted for almost three years on a nonetheless generous Australian Government-sponsored International Postgraduate Research Scholarship, plus stipend and occasional paid teaching, I first escaped to Ljubljana, Slovenia, by way of Hong Kong and England, where I wrote (...) my first postdoctoral fellowship applications: first for a US Fulbright Scholar Award (which failed); and then, one year later, for an EC Marie Skłodowska-Curie Independent Research Fellowship (which failed). The latter was monumentally bureaucratic, and I only tackled it after the Fulbright had failed. It came back scored like Olympic figure skating. Mostly I got “fives” (and there were no Russian judges involved) ... (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Representations of intense emotions are rare in the Chinese visual tradition in comparison with their counterpart in literary convention. While the reasons for this deserve an in-depth interdisciplinary study, such general reservation contrastingly highlights a distinct visual phenomenon that emerged and flourished during the middle period. This time period witnessed a growing number of visual representations of grieving figures in funerary and religious contexts. By articulating various representational modes of mourning images, this essay discusses a significant development (...) in the emotional lives of middle-period Chinese. Occupying seemingly disparate ritual spaces the images of sorrowful mourners conspicuously emerged as an appealing motif for adorning the burial spaces of their deceased. These two sites of intense affect reveal that era’s desire for placing the virtual mourner in the space designed for the dead as a visual agency conveying the emotive surrounding the death of the beloved, be they local monks or family members, who often lacked literary means to express their feelings. Recognizing this affective mode helps us to better understand the complex interplay between the emotions, the social and cultural sanctions in expressing them, and the visual codes created thereof, in post-medieval China. (shrink)

A selection of documents, texts, and archival records, with links, summarizing a sustained critical engagement with the art world and academia, through essays, reviews, etc., and inclusive of garden design, architecture, film, photography, fashion, performance art, music, and opera … They begin in New York, New York, in the early 2000s, and then become embedded in various aspects of PhD studies concerning visual agency, postdoctoral research projects concerned with a study of intellectual property rights, and, then, a second (...) PhD focused on works-based agency …. (shrink)

Why do design arguments—particularly those emphasizing machine metaphors such as “Organisms and/or their parts are machines”—continue to be so convincing to so many people after they have been repeatedly refuted? In this essay I review various interpretations and refutations of design arguments and make a distinction between rationally refuting such arguments (RefutingR) and rendering them psychologically unconvincing (RefutingP). Expanding on this distinction, I provide support from recent work on the cognitive power of metaphors and developmental psychological work indicating a basic (...) human propensity toward attributing agency to natural events, to show that design arguments “make sense”unless one is cued to look more closely. As with visual illusions, such as the Müller-Lyer arrow illusion, there is nothing wrong with a believer's cognitive apparatus any more than with their visual apparatus when they judge the lines in the illusion to be of unequal length. It takes training or a dissonance between design beliefs and other beliefs or experiences to play the role that a ruler does in the visual case. Unless people are cued to “look again” at what initially makes perfect sense, they are not inclined to apply more sophisticated evaluative procedures. (shrink)