El propósito de esta investigación se centra en la propuesta de una práctica artística sobre “poesía visual” en la asignatura de Ilustración del Grado en Bellas Artes. El objetivo principal de esta actividad será la de mostrar los paralelismos existentes entre la ilustración y la poesía verbal. Con él se pretende el alumno conozca y domine los ele-mentos del lenguaje visual, además de favorecer la comprensión crítica al desarrollar el propio trabajo artístico. En el proceso de (...) elaboración el estudiante aplicará las técnicas y conocimientos adquiridos en las clases teóricas, además de documentarse de diversos trabajos previamente realizados por profesionales. Los ejercicios finales serán clasificados y analizados en función de los contenidos teóricos propuestos, el lenguaje y la retórica visual. A partir de esta primera clasificación se investigará sobre el impacto expresivo de la poesía visual y la nuevas dimensiones “paragramaticales” que suscita la imagen de un poema verbal. Las conclusiones extraídas mostrarán las nuevas asociaciones mentales que surgen más allá de la desviación de la norma gramatical, es decir, la imagen modifica la percepción de lo escrito y activa una nueva interpretación del texto. (shrink)

En el presente conjunto de poemas, provenientes del libro titulado Vispoiesis, Pliegos de la visión n° 96 (2019), Restrepo se presenta como un operador visual que conjuga acabadamente la vocación experimental y conceptual. Encabalgado sobre preocupaciones políticas diversas, con cada una de sus piezas consigue persuadirnos de que es posible la práctica de una poesía visual que se imbrique profundamente con el contexto y que se arriesgue en un posicionamiento crítico, algo que se impone casi como una (...) urgencia en una realidad que exige el compromiso de todo poeta y artista en la construcción de nuevos horizontes y sentidos. (shrink)

Foucault's discussion of the panopticon is the best-known engagement with visual epistemology, the relationship of sight and knowledge. Yet the panopticon is only one form of visual epistemology and all technologies of perspective position and situate their subjects. As a colloquial statement of visual epistemology we might say: you are how you see. This essay focuses on the cinematic episteme or how the technology of cinema configures a way of seeing and way of knowing. Specifically this essay (...) takes up a narrower question of visual alterity. Beginning from Hegel's discussion of consciousness, it asks how within and through film we recognise our self and how can we see the other? To carry out the analysis, the essay attends in particular to two films Baby I will Make You Sweat (1994) and La Moderna Poesia (2000) by experimental and underground artist Birgit Hein. These films combine incongruous and even conflicting representational strategies that particularly enable an exploration of visual alterity. Both films on the one hand narrate a highly subjective experience of self/other relations within the context of a travel narrative: a woman seeking to recapture some sense of life, travels to an unfamiliar destination, enters into new environments and takes up relationships, sometimes intimate, with strangers. On the other hand they both rely on a form of aesthetic abstraction that leaves the film without renaissance perspective, panoptic organizing, shot-reverse shot, continuity editing, i.e. an of the typical representational strategies of alterity found in narrative films. (shrink)

El presente artículo aborda las prácticas visuales en la poesía chilena en tres planos de discusión estética. En primer lugar, propone una conceptualización analítica previa de la imagen visual como una forma de legibilidad de prácticas de escritura poética. En segundo lugar, establece una revisión problemática del giro visual en la poesía chilena, esbozando una interpretación de la historiografía literaria fuera de los marcos de la lectura lineal y progresiva. En tercer lugar, el artículo plantea una (...) mirada sintética y no exhaustiva acerca de las migraciones y familias visuales, como instancia de legibilidad acerca de prácticas poéticas que incorporan la visualidad en la escritura. A partir de estos tres ámbitos, deseamos señalar una discusión filosófica en torno a la relación entre imagen y texto a través de la poesía chilena. (shrink)

El presente ensayo analiza la obra de Augusto de Campos y su relación con la poesía visual. A partir del uso que hace el poeta brasileño de la página en negro para componer sus poemas, se propone una lectura de su obra en relación con el legado de Mallarmé y su idea de la escritura. Posteriormente, a partir de la idea de la materialidad de la lengua poética que está en el centro del proyecto poético de Augusto de (...) Campos, se plantea el pasaje hacia una dimensión háptica que se produce en sus poemas, sobre todo en “Anticéu” (“Anticielo”) de 1984. (shrink)

Partindo do concretismo subjacente ao texto poético de Ernesto Manuel de Melo e Castro, e que está na origem do tratamento da linguagem a partir dos seus modos de materialização, o presente texto procura traçar um possível caminho interpretativo para a função da poesia visual determinada pelo autor, a saber: sintetizar a comunicação visual. Para tal, é explorado o percurso percorrido pelo cruzamento de sistemas sígnicos levado a cabo pela prática poética de Melo e Castro, especialmente aquela que (...) diz respeito a questões de intermedialidade, e que se prende com o modo de materialização da densidade sígnica do fenómeno textual. (shrink)

El presente artículo busca “condensar” investigaciones precedentes respecto de las formas de leer los vínculos entre poesía e imagen visual. Apostando por la mirada en constelaciones, indaga una manera de aproximarse a figuras y paisajes en la poesía chilena, a través de archivos, conceptos, fronteras y aparatos, que dan cuenta de una sedimentación móvil de escritura y visualidad, estableciendo las posibilidades de leer materiales y técnicas en la historia de taxonomías imaginarias.

En 1966, Rodolfo Walsh viaja al Litoral y escribe una serie de notas para la revista Panorama. Fernando Birri, en 1960, realiza en Santa Fe su documental Tire dié. Según algunos datos, se conjetura que Juan L. Ortiz escribió El Gualeguay durante la década del 60. En estas discursividades literarias y visuales se configuran narrativas e imágenes no solamente del presente de su realización, sino también del pasado y, en gran medida, de lo que devendrá en la región del litoral (...) argentino a partir del registro de una modernidad desigual. Por eso, nos preguntamos: ¿qué tensiones tejen y arrojan entre la modernidad desigual y las formas de exclusión?, ¿de qué modo estas narrativas -documental, poética y periodística- conforman un archivo donde lo estético y lo político no dejan de inscribirse entre sí? Estos son algunos puntos de partida para explorar y poner en relación una visualidad y narratividad de la región, bajo los regímenes de discursividad del archivo de los 60 y desde el enfoque amplio de la geografía cultural. (shrink)

Paralelamente a su poesía, Bernard Noël desarrolla una obra en prosa que plantea interrogantes de orden cognitivo, en particular en torno a la percepción visual. La exploración de dispositivos tecnológicos (la cámara fotográfica) y de escenificaciones del acto de creación (la escena del pintor trabajando) es ocasión para contrastar la pertinencia de las intuiciones y reflexiones del poeta puestas bajo el foco de las actuales ciencias cognitivas. El trayecto de lo óptico a lo mental queda inscrito en una (...) comprensión encarnada y gestual de la cognición que apunta también hacia el surgimiento del lenguaje. Su poesía ha de ser pues entendida como el tramo final del proceso. (shrink)

En la poesía española contemporánea resulta cada vez más frecuente la relación de la poesía con otras disciplinas artísticas y, en especial, con las artes visuales. El poemario “A orillas del Ems”, de María Victoria Atencia, que combina lo fotográfico y lo poético, puede verse como un ejemplo de este tipo de interrelación. Tomando como punto de partida el libro de fotografías “Telgte in Erinnerung”, de Renate Kruchen, la autora realiza una recreación poética, sirviéndose del mecanismo compositivo de (...) la “écfrasis”. En esta recreación, se mezclan o se combinan lo ajeno con lo propio y lo objetivo con lo subjetivo. A las imágenes de los otros se va superponiendo o entrelazando la voz, las experiencias y los recuerdos personales de su autora, en la construcción de un discurso en el que, aunque de forma velada, pueden encontrarse elementos personales, subjetivos y autobiográficos. A lo largo del texto se estudiarán algunas de las formas en las que estos elementos se introducen en el poemario, entre las que se encuentran la selección y ordenación del material fotográfico y poético; las superposiciones o coincidencias entre los dos discursos, el visual y el verbal; la relación entre lo presente y lo ausente; y la interacción de la hablante con los personajes de las fotografías y las relaciones ficticias de parentesco que establece con ellos. (shrink)

Tradicionalmente, la categoría de écfrasis se usa para denominar una descripción, ya sea en poesía o prosa, transmite vívidamente las cualidades de un objeto. Como ejercicio literario, cruza las líneas entre la descripción y la narración, haciendo aparente que la diferencia entre ambas es convencional. Como categoría estética, marca la entrada de lo visual en la institución de la literatura. En este artículo proponemos utilizar esa categoría como puerta de entrada de Walter Benjamin en los llamados “estudios visuales”. (...) Palabras clave: Walter Benjamin; Écfrasis; Cultura visual; Libro de los Pasajes; Colonialismo. (shrink)

Defende-se que, em Platão, haveria um ataque ao estilo de arte realista, uma novidade à época. Será apresentada uma definição do que seria esse realismo, apresentando exemplos da arte visual, mas também, brevemente, da poesia. Será destacada a comunhão de áreas filosóficas na crítica platônica, pois não só a estética, como a epistemologia, a ontologia e a ética estão presentes no ideário que define a arte como um simulacro do real. Será abordada a questão da mímēsis e a diferença (...) de perspectiva entre as Leis e os livros III e X da República. (shrink)

El presente artículo interroga el cruce entre escritura y visualidad en la poética de Celan, a partir del siguiente recorrido: un primer apartado, se detiene en la incidencia que tiene su encuentro con Gisèle Lestrange, dando cuenta del reconocimiento, por parte de Celan, de la significativa impronta que deja el arte del grabado de Lestrange en su propio ejercicio poético. El creciente uso de términos provenientes del arte del grabado, tanto en su poesía como en sus reflexiones poetológicas, permitirá (...) comprender la relación que el poeta sostiene con ciertas formas de imaginación crítica provenientes de las artes visuales. En un segundo apartado, rastreamos cómo El Meridiano, título de su decisivo manifiesto poetológico, encuentra su espacio de germinación en un grabado que Lestrange envía a Nelly Sachs, y en cuyas líneas la poeta reconoce, como en su correspondencia con Celan, «meridianos del dolor y del consuelo». Un tercer acápite retoma la pregunta de Derrida respecto de cómo leer en Celan la práctica de la entalladura del lenguaje. Un último apartado aborda sucintamente la relación entre imagen y resistencia, a partir del dibujo de velas ardiendo que Celan realiza cuando niño y del «llamado a los poetas» que le llega del anarquista Gustav Landauer. (shrink)

In this paper, I take up the conciliatory-steadfast debate occurring within social epistemology in regards to the phenomenon of peer disagreement. I will argue, because the conciliatory perspective al-lows us to understand argumentation pragmatically—as a method of problem-solving within a community rather than as a method for obtaining the truth—that in most cases, we should not simply agree to disagree.

Attention makes a phenomenal difference to visual experience, but the nature of this difference is controversial. There are three possibilities. The first is that the phenomenology of visual attention has deflationary content, which is to say that attention makes a phenomenal difference only by modulating the appearance of an attended object's visible features. Secondly, it has novel content—attention contributes unique representational content to visual experience. Thirdly, it has no content—the phenomenal contribution of attention to visual experience (...) is not representational at all. I argue that problems for deflationary content and no content accounts motivate a novel content account of visual attentional phenomenology. I develop a novel content account which avoids challenges that have hitherto been presumed devastating for such views. The resulting theory vindicates representationalism about visual experience and is poised to do the same for experiences in other perceptual modalities. (shrink)

Differences in the ability of students to judge images can be assessed by analyzing the individual preference order of images. To gain insights into potential heterogeneity in judgement of visual abstraction among students, we combine Bradley–Terry preference modeling and model-based recursive partitioning. In an experiment a sample of 1,020 high-school students ranked five sets of images, three of which with respect to their level of visual abstraction. Additionally, 24 art experts and 25 novices were given the same task, (...) while their eye movements were recorded. Results show that time spent on the task, the students’ age, and self-reported interest in visual puzzles had significant influence on rankings. Fixation time of experts and novices revealed that both groups paid more attention to ambiguous images. The presented approach makes the underlying latent scale of visual judgments quantifiable. (shrink)

The current study investigated the adaptations which occur in visual search behaviour as a function of expertise in rugby union players when completing attacking scenarios. Ten experienced players and ten novice players completed 2 vs. 1 attacking game scenarios. Starting with the ball in hand and wearing a mobile eye tracker throughout, participants were required to score a try against a defender. The scenarios allowed for a pass to their supporting player or trying to run past the defender. No (...) between group differences were found in fixating on the supporting attacking player. However, EP increased the length and frequency looking at the area immediately ahead of the supporting player, particularly when executing a spin pass. NP fixated longer and more frequently at the defender, whilst EP fixated more frequently in the space the supporting player would run into in Switch and Dummy Switch scenarios. More successful passes were completed and tries scored by EP compared to NP. Differences in visual search behaviour between experienced and NP suggest that the experts extract information from areas directly related to guiding the motor action; the space immediately ahead of the support player to pass the ball in. Contrastingly, novices use a more allocentric perspective where the actions from the defender are used to guide their motor actions. (shrink)

A little-known mendicant order, the Apostolic Clerics of St Jerome, better known as the ‘Jesuati’, was founded by Giovanni Colombini of Siena in the mid-fourteenth century, receiving formal recognition from Pope Urban V at Viterbo in 1367. The congregation flourished, particularly over the course of the fifteenth century when it established conventual houses in most major cities of central and northern Italy, but was eventually suppressed in 1668. Known for their piety, penance and service to the sick and dying, the (...) Jesuati played a significant role in the visual culture of later medieval and early modern Italy, and one that has subsequently been much neglected. This study will identify and discuss five categories in which the Jesuati intersected with the arts: church and convent architecture, images depicting the approval of the order by Urban V, altarpieces and other forms of church decoration, the trigram of the Holy Name of Jesus, and the manufacture of coloured glass and artists’ pigments, the latter including ultramarine azzurro that was highly prized. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other (...) forms on the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

The investigation of visual categorization has recently been aided by the introduction of deep convolutional neural networks (CNNs), which achieve unprecedented accuracy in picture classification after extensive training. Even if the architecture of CNNs is inspired by the organization of the visual brain, the similarity between CNN and human visual processing remains unclear. Here, we investigated this issue by engaging humans and CNNs in a two‐class visual categorization task. To this end, pictures containing animals or vehicles (...) were modified to contain only low/high spatial frequency (HSF) information, or were scrambled in the phase of the spatial frequency spectrum. For all types of degradation, accuracy increased as degradation was reduced for both humans and CNNs; however, the thresholds for accurate categorization varied between humans and CNNs. More remarkable differences were observed for HSF information compared to the other two types of degradation, both in terms of overall accuracy and image‐level agreement between humans and CNNs. The difficulty with which the CNNs were shown to categorize high‐passed natural scenes was reduced by picture whitening, a procedure which is inspired by how visual systems process natural images. The results are discussed concerning the adaptation to regularities in the visual environment (scene statistics); if the visual characteristics of the environment are not learned by CNNs, their visual categorization may depend only on a subset of the visual information on which humans rely, for example, on low spatial frequency information. (shrink)

We present a general cognitive architecture that tightly integrates symbolic, spatial, and visual representations. A key means to achieving this integration is allowing cognition to move freely between these modes, using mental imagery. The specific components and their integration are motivated by results from psychology, as well as the need for developing a functional and efficient implementation. We discuss functional benefits that result from the combination of multiple content-based representations and the specialized processing units associated with them. Instantiating this (...) theory, we then discuss the architectural components and processes, and illustrate the resulting functional advantages in two spatially and visually rich domains. The theory is then compared to other prominent approaches in the area. (shrink)

RESUMEN Se presentan los resultados de la investigación La calidad de vida en pacientes con catarata senil atendidos en Nuevitas de junio a diciembre del 2016, con el objetivo de demostrar el impacto social de la cirugía. Para el estudio descriptivo, longitudinal, prospectivo realizado se seleccionaron 65 pacientes, los cuales constituyen la muestra seleccionada. Para medir el impacto se aplicó una planilla de recolección de datos, y el cuestionario de calidad de vida relativa a la visión pre y postoperatoria. Se (...) concluye que todos los pacientes fueron operados debido a un deterioro visual y funcional marcado. Luego de la cirugía se logró una recuperación visual satisfactoria, con una mejor calidad de vida que revela valores altamente significativos desde el punto de vista clínico, psicológico y social que contribuyeron a la reincorporación de estos ancianos a la sociedad. ABSTRACT It is presented the results of the investigation “The quality of life in patients with senile cataract attended in Nuevitas from June to December, 2016", with the objective to demonstrate the social impact of the surgery. For the descriptive, longitudinal, pilot study were selected 65 patients, which constitute the chosen sample. To measure the impact there was applied a chart of information compilation, and the questionnaire of quality of life relative to the vision pre and postoperative. It was concluded that all the patients were operated due to a pronounced visual and functional deterioration. After the surgery a satisfactory visual recovery was achieved, with a better quality of life that reveals highly significant values from the clinical, psychological and social point of view that they contributed to the reincorporation of these elders to the society. (shrink)

Although The Origin of Species contained just a single visual illustration, Charles Darwin's other books, from his monograph on barnacles in the early 1850s to his volume on earthworms in 1881, were copiously illustrated by well-known artists and engravers. In this 2006 book, Jonathan Smith explains how Darwin managed to illustrate the unillustratable - his theories of natural selection - by manipulating and modifying the visual conventions of natural history, using images to support the claims made in his (...) texts. Moreover, Smith looks outward to analyse the relationships between Darwin's illustrations and Victorian visual culture, especially the late-Victorian debates about aesthetics, and shows how Darwin's evolutionary explanation of beauty, based on his observations of colour and the visual in nature, were a direct challenge to the aesthetics of John Ruskin. The many illustrations reproduced here enhance this fascinating study of a little known aspect of Darwin's lasting influence on literature, art and culture. (shrink)

El ensayo que sigue se interesa por mostrar algunas de las características más vistosas de la configuración enunciativa de la poesía de Américo Reyes Vera, a través de la lectura de sus dos de sus obras Los poemas plumaveral (1992) y Que los cuerpos cumplan su destino (2012). Para ello, se pone atención en la manera en que el sujeto de enunciación lírica se sitúa frente a su lector esperado y también se busca definir la relación en que la (...) heterogeneidad enunciativa se asocia a la preferencias temáticas de dichas obras. Para el contexto de la producción lírica actual y la tradición poética nacionales, la obra de Américo Reyes Vera puede considerarse como literatura emergente, dada la renovación exploratoria de los paradigmas estéticos que supone. (shrink)

This paper aims to show that in ancient Greek architecture, it is possible to find a genesis of the geometric modeling of visual perception present in propositions of Euclid's Optics, considering mathematical knowledge as a human wisdom expression. Let us start by emphasizing that mathematical thinking is not exclusively rooted in mathematical disciplines, but also includes the broad spectrum of human activities, including activities that come from everyday life. Based on this, we present a socio-cultural characterization of human experience (...) as the source and sustainer of mathematical knowledge. Thereafter, on the basis of a content and contextual analysis of _Euclid's Optics_, we explain the use and development of geometry in the study of various optical effects of visual perception in the architectural art embodied in the Acropolis of Athens; and we focus our analysis on one of the most important of these effects, the Acropolis of Athens. We focus our analysis on one of the most emblematic architectural works of ancient Greek culture: the Parthenon of Athens. (shrink)

This essay attempts a restatement of the relationship between art and science in terms of “making” and “knowing.” It first surveys the various ways art and science were related in the early modern period, arguing that one result of the new naturalistic representation was the emergence of a new visual culture that reinforced appeals to eyewitness and firsthand experience and in some cases fostered a new examination of European culture. At the same time, art, understood as the work of (...) the human hand in imitating nature, came to be viewed as one of the central characteristics that distinguished European society from the past. Moreover, artist/artisans helped constitute the aims and methods of the study of nature during the fifteenth and sixteenth centuries, articulating a new kind of authority for nature and providing the artworks that engendered a culture of nature study and collection. Thus art and artisans were fundamental motors of the Scientific Revolution. More attention to the visual culture of early modern Europe, including religious and devotional imagery, and seeking out intersections between making and knowing, as some art historians studying techniques have begun to do, will add to our understanding of the relationship between art and science in the early modern period. (shrink)

Visual processing is thought to function in a coarse-to-fine manner. Low spatial frequencies, conveying coarse information, would be processed early to generate predictions. These LSF-based predictions would facilitate the further integration of high spatial frequencies, conveying fine details. The predictive role of LSF might be crucial in automatic face processing, where high performance could be explained by an accurate selection of clues in early processing. In the present study, we used a visual Mismatch Negativity paradigm by presenting an (...) unfiltered face as standard stimulus, and the same face filtered in LSF or HSF as deviant, to investigate the predictive role of LSF vs. HSF during automatic face processing. If LSF are critical for predictions, we hypothesize that LSF deviants would elicit less prediction error than HSF deviants. Results show that both LSF and HSF deviants elicited a mismatch response compared with their equivalent in an equiprobable sequence. However, in line with our hypothesis, LSF deviants evoke significantly reduced mismatch responses compared to HSF deviants, particularly at later stages. The difference in mismatch between HSF and LSF conditions involves posterior areas and right fusiform gyrus. Overall, our findings suggest a predictive role of LSF during automatic face processing and a critical involvement of HSF in the fusiform during the conscious detection of changes in faces. (shrink)

Studies have shown that performance‐dependent monetary rewards facilitate visual perception. However, no study has examined whether such a positive effect is limited to the rewarded task or may be generalized to other tasks. In the current study, two groups of people were asked to perform two visual perception tasks, one being a reward‐relevant task and the other being a reward‐irrelevant task. For the reward‐relevant task, the experimental group received performance‐dependent monetary rewards, whereas the control group did not. For (...) the reward‐irrelevant task, both groups were not rewarded. The two tasks were randomly intermixed trial by trial (Experiment 1) or presented block by block (Experiment 2) or session by session (Experiments 3a, 3b, and 3c). Results showed that performance‐dependent monetary rewards improved participants' performance on the relevant task in all experiments and impaired their performance on the irrelevant task in Experiments 2, 3a, 3b, and 3c. These results suggested that monetary rewards might incur a cost on reward‐irrelevant tasks. Finally, the benefit of monetary rewards disappeared when they were no longer provided during the final session. This is the first study that reveals both the bright and dark sides of the performance‐dependent monetary rewards in visual perception. (shrink)

Visual neglect has been associated with an imbalance in the level of activity in the saccadic system: activity in the contralesional field is suppressed, which makes target selection unlikely. We recorded eye movements of a patient with hemispatial neglect and a group of healthy participants during an oculomotor distractor paradigm. Results showed that the interfering effects of a distractor were very strong when presented in her ipsilesional visual field. However, when the distractor was presented in her contralesional field, (...) there were no interfering effects when the target was presented in her ipsilesional field. These findings could not be explained by the presence of a visual field defect as revealed by the results of two hemianopic patients. Our results are in line with an imbalance in the level of activity in the saccadic system in visual neglect because visual elements presented in the contralesional field did not compete for saccadic selection. (shrink)

With the development of visual prostheses research from the engineering phase to clinical trials, volunteer recruitment for the early visual prosthesis trials needs to be carefully considered. In this article, we mainly discuss several issues related to volunteer recruitment that had posed serious challenges to the visual prosthesis trials, such as low rates of participants, high expectations and underlying motivations to participate in the visual prosthesis trials as well as the importance of informed consent. When recruiting (...) volunteers for visual prosthesis implants, it is critical that the visual prosthesis researchers should not only take into account the patient’s expectations and motivations, but also make the patients fully aware of the possible benefits and risks involved with their participation, and help patients establish realistic expectations for the early phase of visual prosthesis implantation. Based on these considerations to the challenges, eligible volunteers may be recruited in the preliminary stages of visual prosthesis trials. (shrink)

To further develop three-dimensional (3D) applications, it is important to elucidate the negative effects of 3D applications on the human body and mind. Thus, this study investigated differences in the effects of visual fatigue on cognition and brain activity using visual and auditory tasks induced by watching a 1-h movie in two dimensions (2D) and 3D. Eighteen young men participated in this study. Two conditions were randomly performed for each participant on different days, namely, watching the 1-h movie (...) on television in 2D (control condition) and 3D (3D condition). Before and after watching the 1-h movie on television, critical flicker fusion frequency (CFF: an index of visual fatigue), and response accuracy and reaction time for the cognitive tasks were determined. Brain activity during the cognitive tasks was evaluated using a multi-channel near-infrared spectroscopy system. In contrast to the control condition, the decreased CFF, and the lengthened reaction time and the decreased activity around the right primary somatosensory cortex during Go/NoGo blocks in the visual task at post-viewing in the 3D condition were significant, with significant repeated measures correlations among them. Meanwhile, in the auditory task, the changes in cognitive performance and brain activity during the Go/NoGo blocks were not significant in the 3D condition. These results suggest that the failure or delay in the transmission of visual information to the primary somatosensory cortex due to visual fatigue induced by watching a 3D movie reduced the brain activity around the primary somatosensory cortex, resulting in poor cognitive performance for the visual task. This suggests that performing tasks that require visual information, such as running in the dark or driving a car, immediately after using a 3D application, may create unexpected risks in our lives. Thus, the findings of this study will help outlining precautions for the use of 3D applications. (shrink)

Este trabajo parte de la premisa de que, en El arco y la lira, Octavio Paz hace una reflexión acerca del lenguaje poético que se aproxima en diversos aspectos a la hermenéutica de Hans-George Gadamer. En ambos autores encontramos la idea de que la poesía es un lenguaje originario que, por su carácter creador, nos separa de las relaciones habituales del mundo, al mismo tiempo que nos conecta con la tradición. La poesía deviene, así, como una experiencia de (...) origen y de pertenencia: nos lleva a lo que nunca antes habíamos contemplado (experiencia de la otredad y de lo indeterminado), pero también nos conecta con la historia y con la tradición que está presente en toda lengua. Así, el propósito de este trabajo es mostrar los puntos de encuentro entre ambos autores, que, desde puntos de partida muy diferentes, han llegado a planteamientos bastante compatibles entre sí, lo cual se explica, en buena medida, por el hecho de que ambos han superado la visión del lenguaje como medio y han afirmado la esencia lingüística de la poesía. (shrink)

Past, present, and future are reversed in the reader's encounter with the illustrations selected by Gertrude Stein for her Autobiography of Alice B. Toklas.1 After the table of contents there is a table of illustrations that encourages everyone to look at the pictures before they begin reading. During that initial examination, the illustrations forecast what is to be discovered in the text. Expectations are aroused by photographs showing Gertrude Stein in front of the atelier door, rooms hung with paintings, Gertrude (...) and Alice in front of Saint Mark's Cathedral, and both with a car in front of Joffre's birthplace. It is natural—although, as it turns out, not altogether correct—to assume that the accumulation of paintings will be explained, that the life lived within the rooms will be fully depicted, and that conventional narrative explanation will be provided to account for the presence of Gertrude and Alice together in such disparate settings as Venice and the French marshal's home. · 1. For useful comments on several pictures as well as evidence that "even the book's sixteen photographs were carefully placed in the first edition," see Richard Bridgman, Gertrude Stein in Pieces , p. 219. Paul K. Alkon, professor of English at the University of Minnesota, is author of Samuel Johnson and Moral Discipline. Among his recent articles are "Boswellian Time" and "The Historical Development of the Concept of Time." He is writing a book about time in Defoe's fiction. See also: "The Mind, The Body, and Gertrude Stein" by Catharine R. Stimpson in Vol. 3, No. 3; "Gertrude Stein, the Cone Sisters, and the Puzzle of Female Friendship" by Carolyn Burke in Vol. 8, No. 3. (shrink)

Flickering light induces visual hallucinations in human observers. Despite a long history of the phenomenon, little is known about the dependence of flicker-induced subjective impressions on the flicker frequency. We investigate this question using Ganzfeld stimulation and an experimental paradigm combining a continuous frequency scan with a focus on re-occurring, whole percepts. On the single-subject level, we find a high degree of frequency stability of percepts. To generalize across subjects, we apply two rating systems, a set of complex percept (...) classes derived from subjects’ reports and an enumeration of elementary percept features, and determine distributions of occurrences over flicker frequency. We observe a stronger frequency specificity for complex percept classes than elementary percept features. Comparing the similarity relations among percept categories to those among frequency profiles, we observe that though percepts are preferentially induced by particular frequencies, the frequency does not unambiguously determine the experienced percept. (shrink)