Perceptual conscious experiences result from non-conscious processes that precede them. We document a new characteristic of the cognitive system: the speed with which visual meaningful stimuli are prioritized to consciousness over competing noise in visual masking paradigms. In ten experiments (N = 399) we find that an individual's non-conscious visual prioritization speed (NVPS) is ubiquitous across a wide variety of stimuli, and generalizes across visual masks, suppression tasks, and time. We also find that variation (...) in NVPS is unique, in that it cannot be explained by variation in general speed, perceptual decision thresholds, short-term visual memory, or three networks of attention (alerting, orienting and executive). Finally, we find that NVPS is correlated with subjective measures of sensitivity, as they are measured by the Highly Sensitive Person scale. We conclude by discussing the implications of variance in NVPS for understanding individual variance in behavior and the neural substrates of consciousness. (shrink)

Translation equivalents for cognates in different script systems share the same meaning and phonological similarity but are different orthographically. Event-related potentials were recorded during the visual recognition of cross-script cognates and non-cognates together with concreteness factors while Chinese learners of English performed a lexical decision task with the masked translation priming paradigm in Experiment 1 and Experiment 2. N400 effect was found to be closely related to priming effects of cross-script cognate status and concreteness in Experiment 1; and in (...) Experiment 2, N150 and N400 effects were related to priming effects of cross-script cognate status and concreteness, and greater priming effects of cross-script cognate status in cognates than in non-cognates for abstract words were found in the time window of 100–200 ms. Meanwhile, the asymmetry of translation directions was observed in smaller priming effects in forward translation than in backward translation in the time window of 100–200 ms for abstract cognates, and in larger priming effects in forward translation than in backward translation in the time window of 350–550 ms for each type of words. We discussed the roles of phonological activation and concreteness effects in view of the function of N150 and N400 components as well as the relevant models, mainly the Distributed Feature Model and Bilingual Interactive Activation model. (shrink)

The coronavirus pandemic has resulted in the recommended/required use of face masks in public. The use of a face mask compromises communication, especially in the presence of competing noise. It is crucial to measure the potential effects of wearing face masks on speech intelligibility in noisy environments where excessive background noise can create communication challenges. The effects of wearing transparent face masks and using clear speech to facilitate better verbal communication were evaluated in this study. We evaluated (...) listener word identification scores in the following four conditions: (1) type of mask condition (i.e., no mask, transparent mask, and disposable face mask), (2) presentation mode (i.e., auditory only and audiovisual), (3) speaking style (i.e., conversational speech and clear speech), and (4) with two types of background noise (i.e., speech shaped noise and four-talker babble at −5 signal-to-noise ratio). Results indicate that in the presence of noise, listeners performed less well when the speaker wore a disposable face mask or a transparent mask compared to wearing no mask. Listeners correctly identified more words in the audiovisual presentation when listening to clear speech. Results indicate the combination of face masks and the presence of background noise negatively impact speech intelligibility for listeners. Transparent masks facilitate the ability to understand target sentences by providing visual information. Use of clear speech was shown to alleviate challenging communication situations including compensating for a lack of visual cues and reduced acoustic signals. (shrink)

The concept of simultaneous masking in visual field is discussed, in the light of classical examples, of the various kinds of the phenomenon, of a modal completion, of the figure/ground phenomenon, of ambiguous and reversible figures, of mimicry and camouflage and eventually of the complexity of the stimulus. There is some reference to masking in auditory field. The “reality” of the masked configuration is discussed, drawing the conclusion that it is perceptually unreal. The fact that the (...) class='Hi'>masking phenomenon cannot take place without comparison between two perceptual acts – what we see at one moment and what we see a moment after LATER – and the fact that the masked configuration pops out with some surprise, lead to the conclusion that simultaneous masking in visual field is not a bare perceptual phenomenon, but a psychological process not unlike insight. (shrink)

In a backward masking paradigm Epstein, Hatfield, and Muise (1977) found that presentation of a frontoparallel pattern mask caused the perceived shape of elliptical figures which were rotated in depth to conform to a projective shape function. The current study extended the masking function by examining the effect of a mask which was partially or wholly cotemporal with the target. The study also assessed the functional equivalence of the masking treatment and the conventional treatment (...) for minimizing depth information. Reports of perceived shape and perceived orientation were obtained under three conditions: binocular without mask, binocular with mask, monocular without mask. Under the first condition, perceived shape conformed to objective shape and perceived orientation was proportional to objective orientation. Under the latter two conditions, perceived shape was in very close agreement to projective shape and the two functions did not differ. Orientation was underestimated greatly under both conditions. We concluded that the effect of the mask on perceived shape is mediated by its effect on encoding of orientation information, although an additional effect on the subsequent stage of shape-slant integration cannot be excluded. (shrink)

The present report examined the hypothesis that two distinct visual routes contribute in processing low and high spatial frequencies of fearful facial expressions. Having the participants presented with a backwardly masked task, we analyzed conscious processing of spatial frequency contents of emotional faces according to both objective and subjective taskrelevant criteria. It was shown that fear perception in the presence of the low-frequency faces can be supported by stronger automaticity leading to less false positives. In contrary, the detection of (...) high-frequency fearful faces was more likely supported by conscious awareness leading to more true positives. (shrink)

The human brain’s ongoing activity is characterized by intrinsic networks of coherent fluctuations, measured for example with correlated functional magnetic resonance imaging signals. So far, however, the brain processes underlying this ongoing blood oxygenation level dependent (BOLD) signal orchestration and their direct relevance for human behavior are not sufficiently understood. In this study, we address the question of whether and how ongoing BOLD activity within intrinsic occipital networks impacts on conscious visual perception. To this end, backwardly masked targets were (...) presented in participants’ left visual field only, leaving the ipsi-lateral occipital areas entirely free from direct effects of task throughout the experiment. Signal time courses of ipsi-lateral BOLD fluctuations in visual areas V1 and V2 were then used as proxies for the ongoing contra-lateral BOLD activity within the bilateral networks. Magnitude and phase of these fluctuations were compared in trials with and without conscious visual perception, operationalized by means of subjective confidence ratings. Our results show that ipsilateral BOLD magnitudes in V1 were significantly higher at times of peak response when the target was perceived consciously. A significant difference between conscious and non-conscious perception with regard to the pre-target phase of an intrinsic-frequency regime suggests that ongoing V1 fluctuations exert a decisive impact on the access to consciousness already before stimulation. Both effects were absent in V2. These results thus support the notion that ongoing slow BOLD activity within intrinsic networks covering V1 represents localized processes that modulate the degree of readiness for the emergence of visual consciousness. (shrink)

Aiming at the problem of low pedestrian target detection accuracy, we propose a detection algorithm based on optimized Mask R-CNN which uses the latest research results of deep learning to improve the accuracy and speed of detection results. Due to the influence of illumination, posture, background, and other factors on the human target in the natural scene image, the complexity of target information is high. SKNet is used to replace the part of the convolution module in the depth residual (...) network model in order to extract features better so that the model can adaptively select the best convolution kernel during training. In addition, according to the statistical law, the length-width ratio of the anchor box is modified to make it more accord with the natural characteristics of the pedestrian target. Finally, a pedestrian target dataset is established by selecting suitable pedestrian images in the COCO dataset and expanded by adding noise and median filtering. The optimized algorithm is compared with the original algorithm and several other mainstream target detection algorithms on the dataset; the experimental results show that the detection accuracy and detection speed of the optimized algorithm are improved, and its detection accuracy is better than other mainstream target detection algorithms. (shrink)

Lip reading is the ability to partially understand speech by looking at the speaker's lips. It improves the intelligibility of speech in noise when audio-visual perception is compared with audio-only perception. A recent set of experiments showed that seeing the speaker's lips also enhances sensitivity to acoustic information, decreasing the auditory detection threshold of speech embedded in noise [J. Acoust. Soc. Am. 109 (2001) 2272; J. Acoust. Soc. Am. 108 (2000) 1197]. However, detection is different from comprehension, (...) and it remains to be seen whether improved sensitivity also results in an intelligibility gain in audio-visual speech perception. In this work, we use an original paradigm to show that seeing the speaker's lips enables the listener to hear better and hence to understand better. The audio-visual stimuli used here could not be differentiated by lip reading per se since they contained exactly the same lip gesture matched with different compatible speech sounds. Nevertheless, the noise-masked stimuli were more intelligible in the audio-visual condition than in the audio-only condition due to the contribution of visual information to the extraction of acoustic cues. Replacing the lip gesture by a non-speech visual input with exactly the same time course, providing the same temporal cues for extraction, removed the intelligibility benefit. This early contribution to audio-visual speech identification is discussed in relationships with recent neurophysiological data on audio-visual perception. (shrink)

This study reviews research about the recognition of one’s own face and discusses scientific techniques to investigate differences in brain activation when looking at familiar faces compared to unfamiliar ones. Our analysis highlights how people do not possess a perception of their own face that corresponds precisely to reality, and how the awareness of one’s face can also be modulated by means of the enfacement illusion. This illusion allows one to maintain a sense of self at the expense of a (...) precise discrimination of self-face. The internal dynamics of different brain processes, associated with the construction of bodily identity and the sense of self and capable of integrating signals from different sensory channels, particularly visual and tactile, create a mirror-mask effect. According to this effect, the self-face reflected by a mirror becomes a mask for the self, which has the features of the subject’s face, but nonetheless does not correspond perfectly to its characteristics. This poses interesting questions about the nature and construction of one’s self, as self-face reflections allow the mind to mediate between analogue and virtual reality, between past and future events, between memories and plans of action and, most importantly, between beliefs about our identities. (shrink)

Performance in perceptual tasks often improves with practice. This effect is known as ‘perceptual learning,’ and it has been the source of a great deal of interest and debate over the course of the last century. Here, we consider the effects of perceptual learning within the context of signal detection theory. According to signal detection theory, the improvements that take place with perceptual learning can be due to increases in internal signal strength or decreases in internal noise. We used (...) a combination of psychophysical techniques (external noise masking and double‐pass response consistency) that involve corrupting stimuli with externally added noise to discriminate between the effects of changes in signal and noise as observers learned to identify sets of unfamiliar visual patterns. Although practice reduced thresholds by as much as a factor of 14, internal noise remained virtually fixed throughout training, indicating learning served to predominantly increase the strength of the internal signal. We further examined the specific nature of the changes that took place in signal strength by correlating the externally added noise with observer's decisions across trials (response classification). This technique allowed us to visualize some of the changes that took place in the linear templates used by the observers as learning occurred, as well as test the predictions of a linear template‐matching model. Taken together, the results of our experiments offer important new theoretical constraints on models of perceptual learning. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Here, we explore the sensitivity of different awareness scales in revealing conscious reports on visual emotion perception. Participants were exposed to a backward masking task involving fearful faces and asked to rate their conscious awareness in perceiving emotion in facial expression using three different subjective measures: confidence ratings , with the conventional taxonomy of certainty, the perceptual awareness scale , through which participants categorize “raw” visual experience, and post-decision wagering , which involves economic categorization. Our results (...) show that the CR measure was the most exhaustive and the most graded. In contrast, the PAS and PDW measures suggested instead that consciousness of emotional stimuli is dichotomous. Possible explanations of the inconsistency were discussed. Finally, our results also indicate that PDW biases awareness ratings by enhancing first-order accuracy of emotion perception. This effect was possibly a result of higher motivation induced by monetary incentives. (shrink)

Visual feature binding has been suggested to depend on reentrant processing. We addressed the relationship between binding, reentry, and visual awareness by asking the participants to discriminate the color and orientation of a colored bar and to report their phenomenal awareness of the target features. The success of reentry was manipulated with object substitution masking and backward masking. The results showed that late reentrant processes are necessary for successful binding but not for phenomenal awareness of (...) the bound features. Binding errors were accompanied by phenomenal awareness of the misbound feature conjunctions, demonstrating that they were experienced as real properties of the stimuli . Our results suggest that early preattentive binding and local recurrent processing enable features to reach phenomenal awareness, while later attention-related reentrant iterations modulate the way in which the features are bound and experienced in awareness. (shrink)

"Lenaia vases" is the traditional title given to a group of some seventy fifth-century Attic vases, black- and red-figure. These vases have in common that they show a cult-image of Dionysos, consisting of a mask or masks on a column, in combination with the conventional Attic imagery of the revelling ecstatic female worshippers usually called "maenads." The vases are important and their meaning much debated because they seem to hold out the promise of providing otherwise unavailable information about historical (...) bacchic religion. There is no consensus on the character of the historical information of these scenes. In an older view the imagery records the appearance of enacted ritual; in a newer view, the imagery "discusses," in a fashion analogous to language, concepts about Dionysiac religion. This paper proposes a reinterpretation of a coherent subset of the "Lenaia vases," based on a linguistic reading of the imagery. This subset consists of twenty-eight red-figure stamnoi, a group that has traditionally been the focus of studies of the "Lenaia vases." I analyze the vases as describing, in conventional visual terms of reference, a rite of theoxenia celebrated by ecstatic female worshippers. The imagery says that these worshippers perform a thysia, offer Dionysos a banquet of meat and wine, and celebrate a symposion and komos. It also comments on the practice of such rituals by women, saying that they derive honor from these actions. These rituals find parallels in historical evidence for Dionysiac theoxenia and banquets; the scenes thus may provide additional evidence that Dionysiac celebrations took this form. The scenes, however, are not about the historical enactment of such rituals, and still less a visual record of such enactments. Rather, their message, conveyed by the interweaving of mythical and social references, is that for the worshipper of Dionysos the worlds of myth and of the polis are one. (shrink)

During the COVID-19 pandemic, questions have been raised about the impact of face masks on communication in classroom settings. However, it is unclear to what extent visual obstruction of the speaker’s mouth or changes to the acoustic signal lead to speech processing difficulties, and whether these effects can be mitigated by semantic predictability, i.e., the availability of contextual information. The present study investigated the acoustic and visual effects of face masks on speech intelligibility and processing speed under varying (...) semantic predictability. Twenty-six children and twenty-six adults performed an internet-based cued shadowing task, in which they had to repeat aloud the last word of sentences presented in audio-visual format. The results showed that children and adults made more mistakes and responded more slowly when listening to face mask speech compared to speech produced without a face mask. Adults were only significantly affected by face mask speech when both the acoustic and the visual signal were degraded. While acoustic mask effects were similar for children, removal of visual speech cues through the face mask affected children to a lesser degree. However, high semantic predictability reduced audio-visual mask effects, leading to full compensation of the acoustically degraded mask speech in the adult group. Even though children did not fully compensate for face mask speech with high semantic predictability, overall, they still profited from semantic cues in all conditions. Therefore, in classroom settings, strategies that increase contextual information such as building on students’ prior knowledge, using keywords, and providing visual aids, are likely to help overcome any adverse face mask effects. (shrink)

Previous studies have explored the effects of attention on spatial representation. Specifically, in the attentional repulsion effect, a transient visual cue that captures attention has been shown to alter the perceived position of a target stimulus to the direction away from the cue. The effect is also susceptible to retrospective influence, that attention appears to attract the target when the cue appears afterwards. This study examined the necessity of visual awareness of the cue in these phenomena. We found (...) that when the cues were rendered invisible by backward visual masks, both repulsion and attraction effects were weakened but still observed. The results suggest that the effects possibly depend on processes that are not necessarily associated with conscious visual awareness of the cues. We conjecture that attentional shift produced by the weak, invisible cues may play a role in spatial distortion; but other possible accounts including non-attentional ones are also discussed. (shrink)

Recent findings in neuroscience strongly suggest that an object’s features (e.g., its color, texture, shape, etc.) are represented in separate areas of the visual cortex. Although represented in separate neuronal areas, somehow the feature representations are brought together as a single, unified object of visual consciousness. This raises a question of binding: how do neural activities in separate areas of the visual cortex function to produce a feature-unified object of visual consciousness? Several prominent neuroscientists have adopted (...) neural synchrony and attention-based approaches to explain object feature binding. I argue that although neural synchrony and attentional mechanisms might function to disambiguate an object’s features, it is difficult to see how either of these mechanisms could fully explain the unity of an object’s features at the level of visual consciousness. After presenting a detailed critique of neural synchrony and attention-based approaches to object feature binding, I propose interactive hierarchical structuralism (IHS). This view suggests that a unified percept (i.e., a feature-unified object of visual consciousness) is not reducible to the activity of any cognitive capacity or to any localized neural area, but emerges out of the interaction of visual information organized by spatial structuring capacities correlated with lower, higher, and intermediate levels of the visual hierarchy. After clarifying different notions of emergence and elaborating evidence for IHS, I discuss how IHS can be tested through transcranial magnetic stimulation and backward masking. In the final section I present some further implications and advantages of IHS. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sally Is a Block of IceRevis(it)ing the Figure of Woman in PhilosophyRobyn FerrellThere is a metaphor made famous in the analytic philosophical literature by John Searle et al.: “Sally is a block of ice.” I met this metaphor first as an undergraduate student in philosophy of language classes. I remember, then, feeling a wordless anxiety for Sally, for the “tone” of this example interrupting, but not interrogated by, the (...) discussion it was recruited to illustrate. Later, I met Sally again, in papers given at philosophy conferences on metaphor in which, each time, this mention of Sally struck me as pointed but not observed.John Searle claims that to say “Sally is a block of ice” is to mean “Sally is an extremely unemotional and unresponsive person,” But this seems disingenuous, since the color in the metaphor comes from innuendo of a sexual character, the echoes of the Ice Queen, etc. And no doubt this is one reason why Searle would have adopted it, because it introduces the rhetorical color of sexual intrigue into an apparently technical discourse in the philosophy of language.But in his paper, this metaphor, “Sally is a block of ice,” features along with other metaphors only as an example of the trope. She is there in the text to illustrate Searle’s thesis that metaphor has meaning only because what he calls “speaker’s meaning” and “sentence meaning” are two very different things. On this view, “words have only the meanings they have,” and it is speakers uttering them “in a way that departs from what they actually mean” that allows the metaphor to operate. [End Page 194]Why would the speaker say anything other than what he meant? Why doesn’t he say, “Sally is an extremely unemotional and unresponsive person”? Since the “actual meaning” of language remains unchanged by the use of metaphor in an example of it, the interesting effect of this theory of metaphor is that the speaker can still say that, while he may have said, “Sally is a block of ice,” he didn’t mean it.Sally Is a Metaphor“Sally is a block of ice”: this evocative metaphor, this provocative figure, conjures for me the dilemma that women in philosophy have found, seeking a philosophical account of identity for an identity politics while also trying to find a place for themselves in the academy. Sally is a figure haunting the practice of English-speaking philosophy, where women are grudgingly admitted but, as Genevieve Lloyd has pointed out, disadvantaged by “inclusion without recognition of our difference.”Unless she is frozen on the slab at the morgue, Sally is not obviously a block of ice. But if Sally were a block of ice, if her identity were as a block of ice, and if the copulative form accurately described her in her essence, as “a block of ice,” why would she appear to us in physical form to be a woman?Between “This is Sally” and “Sally is a block of ice” lies a metaphysics of identity, stemming from the way that certain European languages tolerate the copula form to represent divergent senses, the “to be” of identity and the “to be” of attribution. I’ve written about the impact of this copula form for sexual difference elsewhere (Ferrell 2006). While the copula assigns objects to subjects, it does so in an ambiguous manner. Sometimes we say things such as: “Meg Ryan is Sally in the movie When Harry Met Sally on Channel 7 Sunday night.” Meg Ryan is Sally in the sense that she performs Sally. So, is Sally playing a part, then, when “Sally is a block of ice”?Judith Butler would likely say she was, her femininity a masquerade (Butler 1990). Is Sally playing a part when “Sally is Sally”? Nietzsche would say so: “[A]round every profound spirit a mask is continually growing” (Nietzsche 1968). Nietzsche incriminated grammar or syntax in the reproduction of metaphysics, claiming philosophers are particularly gullible in this regard: “[T]hey always believe in reason as in a piece of the metaphysical world itself, this backward belief always reappears in them as an all-powerful regression” (ibid., cited... (shrink)

Our visual system can process information at both conscious and unconscious levels. Understanding the factors that control whether a stimulus reaches our awareness, and the fate of those stimuli that remain at an unconscious level, are the major challenges of brain science in the new millennium. Since its publication in 1984, Visual Masking has established itself as a classic text in the field of cognitive psychology. In the years since, there have been considerable advances in the cognitive (...) neurosciences, and a growth of interest in the topic of consciousness, and the time is ripe for a new edition of this text. Where most current approaches to the study of visual consciousness adopt a 'steady-state' view, the approach presented in this book explores its dynamic properties. This new edition uses the technique of visual masking to explore temporal aspects of conscious and unconscious processes down to a resolution in the millisecond range. The 'time slices' through conscious and unconscious vision revealed by the visual masking technique can shed light on both normal and abnormal operations in the brain. The main focus of this book is on the microgenesis of visual form and pattern perception - microgenesis referring to the processes occurring in the visual system from the time of stimulus presentation on the retinae to the time, a few hundred milliseconds later, of its registration at conscious or unconscious perceptual and behavioural levels. The book takes a highly integrative approach by presenting microgenesis within a broad context encompassing visuo-temporal phenomena, attention, and consciousness. (shrink)

Two experiments are described that investigate the effects of attention in moderating evaluative conditioning (EC) effects in a picture‐picture paradigm in which previously discovered experimental artifacts (e.g., Field & Davey, 1999 Field, AP, and Davey, GCL, (1999). Reevaluating evaluative conditioning: A nonassociative explanation of conditioning effects in the visual evaluative conditioning paradigm, Journal of Experimental Psychology. Animal Behavior Processes 25 ((1999)), pp. 211–224.[Crossref], [PubMed], [Web of Science ®], [Google Scholar]) were overcome by counterbalancing conditioned stimuli (CSs) and unconditioned stimuli (...) (USs) across participants. Conditioned responses for individuals who had attention enhanced were compared against a control group and groups for whom attention was impeded using a distracter task. In a second experiment the effects of attention were dissociated from those of contingency awareness by using backward‐masked US presentations. The results of these experiments indicate that although associative EC effects may not be disrupted by a lack of contingency awareness, attention is an important factor in establishing conditioning. These results shed some light onto the possible boundary conditions that could explain past inconsistencies in obtaining EC effects in the visual paradigm. (shrink)

What are the neural correlates of conscious visual awareness? Tackling this question requires contrasting neural correlates of stimulus processing culminating in visual awareness with neural correlates of stimulus processing unaccompanied by awareness. To contrast these two neural states, one must be able to erase an otherwise visible stimulus from awareness. This paper describes and critiques visual phenomena involving dissociation of physical stimulation and conscious awareness: degraded stimulation, visual masking, visual crowding, bistable figures, binocular rivalry, (...) motion-induced blindness, inattentional blindness, change blindness and attentional blink. While no single strategy stands above the others, those producing changing visual awareness despite invariant physical stimulation are clearly preferable. (shrink)

In written and spoken communications, figures of speech (e.g., metaphors and synecdoche) are often used as an aid to help convey abstract or less tangible concepts. However, the benefits of using rhetorical illustrations or embellishments in visualization have so far been inconclusive. In this work, we report an empirical study to evaluate hypotheses that visual embellishments may aid memorization, visual search and concept comprehension. One major departure from related experiments in the literature is that we make use of (...) a dual-task methodology in our experiment. This design offers an abstraction of typical situations where viewers do not have their full attention focused on visualization (e.g., in meetings and lectures). The secondary task introduces “divided attention”, and makes the effects of visual embellishments more observable. In addition, it also serves as additional masking in memory-based trials. The results of this study show that visual embellishments can help participants better remember the information depicted in visualization. On the other hand, visual embellishments can have a negative impact on the speed of visual search. The results show a complex pattern as to the benefits of visual embellishments in helping participants grasp key concepts from visualization. (shrink)