Was it designed to do that? Children's focus on intended function in their conceptualization of artifacts

Do young children who seek the conceptual kind of an artifact weigh the plausibility that a current function constitutes the function intended by the object designer? Three- and four-year-olds were encouraged to question adults about novel artifacts. After inquiring about what an object was, some children were shown a function that plausibly accounted for the structural features of the object; others were shown a possible, but implausible function. Children given implausible functions were less satisfied with these responses than those given plausible functions, as shown by their more persistent attempts to ask follow-up questions about function. Accordingly, preschoolers appear to take into account matters of intentional design when assigning artifacts to conceptual kinds.     

A Forward Bias in Human Profile-Oriented Portraits

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile-oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) should be over-represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent.     

Additive effects of inhibiting attention to objects and locations in three-dimensional displays

One of the processes thought to underlie visual selection works by biasing attention away from either recently examined locations or objects. The extent of this “inhibition” is greatest when the inhibited object and the inhibited location coincide. In Experiment 1, rectangles are presented stereoscopically at different depths but at similar positions horizontally and vertically. Here, any inhibition should be based solely on a spatial code, as the objects, the rectangles are clearly separate objects. In Experiment 2, the corners of the rectangles are joined to produce a single cuboid that extends in depth space. Now inhibition based on both spatial and object codes should be seen because even when on different depth planes the cue and target are associated with the same object. Consistent with our understanding of the additive effects of inhibition of space and object codes, the extent of inhibition in the second study is almost double that of the first. The results further suggest that space-based inhibition operates within a two-dimensional representation while object-based inhibition utilizes a three-dimensional representation.     

Intentional binding as a marker of agency across the lifespan

The feeling of control over actions and their external effects is known as Sense of Agency (SoAg). People usually have a distinctive SoAg for events caused by their own actions. However, if the agent is a child or an older person, this feeling of being responsible for the consequences of an action may differ from what an adult would feel. The idea would be that children and elderly may have a reduced SoAg since their frontal lobes are developing or have started to loose their efficiency. The aim of this study was to elucidate whether the SoAg changes across lifespan, using the Intentional Binding (i.e., the temporal attraction between a voluntary action and its sensory consequence) as implicit measure. Data show that children and elderly are characterized by a reduced SoAg as compared to adults. These findings provide a fundamental step in the characterization of SoAg dynamics throughout individuals’ lifetime.     

Infants perceive human point-light displays as solid forms

While five-month-old infants show orientation-specific sensitivity to changes in the motion and occlusion patterns of human point-light displays, it is not known whether infants are capable of binding a human representation to these displays. Furthermore, it has been suggested that infants do not encode the same physical properties for humans and material objects. To explore these issues we tested whether infants would selectively apply the principle of solidity to upright human displays. In the first experiment infants aged six and nine months were repeatedly shown a human point-light display walking across a computer screen up to 10 times or until habituated. Next, they were repeatedly shown the walking display passing behind an in-depth representation of a table, and finally they were shown the human display appearing to pass through the table top in violation of the solidity of the hidden human form. Both six- and nine-month-old infants showed significantly greater recovery of attention to this final phase. This suggests that infants are able to bind a solid vertical form to human motion. In two further control experiments we presented displays that contained similar patterns of motion but were not perceived by adults as human. Six- and nine-month-old infants did not show recovery of attention when a scrambled display or an inverted human display passed through the table. Thus, the binding of a solid human form to a display in only seems to occur for upright human motion. The paper considers the implications of these findings in relation to theories of infants' developing conceptions of objects, humans and animals.     

Portraits of Well-Being: Photography as a Mental Health Support for Women With HIV

Many women living with HIV/AIDS (WL-HIV/AIDS) experience significant mental distress. Although creative arts strategies are well positioned to help support women by inspiring creativity and meaning-making, few arts programs have been implemented and evaluated with this population. The authors conducted a photography project with 30 WL-HIV/AIDS from three United States cities. Participants took pictures to capture their lives with HIV/AIDS and described their photos and stories in group and individual sessions. Using thematic analysis, the authors identified that the project supported women’s mental health in four ways by facilitating empowerment and helping women to express themselves, address their mental health with new tools like photography, and process past traumas. Photography projects may help WL-HIV/AIDS understand and manage their mental health.     

Neural correlates of viewing paintings: Evidence from a quantitative meta-analysis of functional magnetic resonance imaging data

Many studies involving functional magnetic resonance imaging (fMRI) have exposed participants to paintings under varying task demands. To isolate neural systems that are activated reliably across fMRI studies in response to viewing paintings regardless of variation in task demands, a quantitative meta-analysis of fifteen experiments using the activation likelihood estimation (ALE) method was conducted. As predicted, viewing paintings was correlated with activation in a distributed system including the occipital lobes, temporal lobe structures in the ventral stream involved in object (fusiform gyrus) and scene (parahippocampal gyrus) perception, and the anterior insula—a key structure in experience of emotion. In addition, we also observed activation in the posterior cingulate cortex bilaterally—part of the brain’s default network. These results suggest that viewing paintings engages not only systems involved in visual representation and object recognition, but also structures underlying emotions and internalized cognitions.     

Short-term mood repair through art-making: Positive emotion is more effective than venting

We examined two mechanisms by which creating visual art may serve as a form of short-term mood repair. After viewing a film that induced a negatively valenced mood, participants were given a self-report affect grid that assessed mood valence and arousal. Participants then engaged in one of three tasks: creating a drawing expressing their current mood (venting), creating a drawing depicting something happy (positive emotion), or scanning a sheet for specific symbols (distraction control). Mood valence and arousal were then reassessed. Arousal remained unchanged after the interventions in all conditions. Valence became more positive in all three conditions, but the greatest improvement occurred after the positive emotion intervention. Valence improved no more after venting than after the control task. Results show that in the short-term, attending to and venting one’s negative feelings through art-making is a less effective means of improving mood than is turning away from a negative mood to something more positive. These findings are consistent with research on the beneficial effects of positive emotions and cast doubt on the often assumed view that artists improve their well being by expressing suffering.     

Shaftesbury on life as a work of art

ABSTRACT

This paper explicates Shaftesbury’s idea that we ought to live our lives as though they are works of art. I show that this idea is central to many of Shaftesbury’s most important claims, and that an understanding of this idea enables us to answer some of the most contested questions in the scholarship on Characteristics.     

Action selection as a guide for visual attention

We plan our actions in order to fulfil certain sensory goals. It is generally believed, therefore, that anticipation of sensory action-outcomes plays an essential role in action selection. In this study, we examined the role of action selection, prior to action execution, in the guidance of visual attention. The experiments began with an initial acquisition phase, in which participants learned to associate two actions (left/right keypress) with two visual outcomes (red/green colour). Next, participants performed in a test phase, in which they continued to select and perform the same actions while their attentional bias was measured for items that resembled the anticipated action-outcome. The findings indicate that learned action-outcome association contributes to the guidance of attention. This guidance, furthermore, was short-lived and disappeared with larger delays between action selection and execution. The findings help situate processes of visual attention in a context that includes action selection and action-outcome associative learning.     

Amodal processing of visual speech as revealed by priming

This study investigated the linguistic processing of visual speech (video of a talker's utterance without audio) by determining if such has the capacity to prime subsequently presented word and nonword targets. The priming procedure is well suited for the investigation of whether speech perception is amodal since visual speech primes can be used with targets presented in different modalities. To this end, a series of priming experiments were conducted using several tasks. It was found that visually spoken words (for which overt identification was poor) acted as reliable primes for repeated target words in the naming, written and auditory lexical decision tasks. These visual speech primes did not produce associative or reliable form priming. The lack of form priming suggests that the repetition priming effect was constrained by lexical level processes. That priming found in all tasks is consistent with the view that similar processes operate in both visual and auditory speech processing.     

“Using New Eyes”: Photography as a Spiritual Practice for Faith Formation and Worship

This article presents three cases of how Lutheran groups used photography as a spiritual practice in processes that led to group spiritual reflection for faith formation and worship: a photography club; a Photography as a Spiritual Practice mini‐course in a parish; and a six‐month parish project of communal art‐making of liturgical media art for one church's Easter Vigil readings.     

Rule-governed activity vs. rule-creating activity

Questioning the usual understanding of Native American religions as supernaturalistic, this study re-examines the ritual system of the Yaqui people of Arizona. First, it evaluates assumptions about the nature of religion—including God, grace, and prayer—which inform the ethnographical interpretation of Yaqui religion. Second, it reconstructs the Yaqui cosmological system and relates their complex cosmos to the traditional religious actors, the Deer Dancer and the Pascola clowns. Third it examines the master symbol, Sewa or Flower, to demonstrate that Yaqui religious logic does not correspond to the grace theory of Catholicism. Fourth, it demonstrates that flower embodies a causal system in which all religious actors, human and transcendent beings alike, achieve ritual efficacy in mutual, reciprocal acts of witnessing. Finally, the essay observes that ‘conversion’ fails to make sense of Yaqui syncretism for two related reasons. In the first place, the Yaqui neither rejected the world nor embraced a monotheism which assigns a privileged, vertical superiority to God. In the second, the Yaqui applied traditional insights deriving from the most basic realm of myth to reach an understanding that Jesus and Deer are alike powerful innocents who sacrifice themselves so that others might live. In all these ways, the essay demonstrates that the concept of the supernatural fails to explain either the traditional or the Christian sides of Yaqui religion and suggests that the same may be true for other Native American religions as well.     

The origin and mission of Material Religion

Beginning its sixth year of publication, Material Religion is an interdisciplinary journal that seeks to gather the best work from around the world engaged in materializing the study of religions. The editors welcome original scholarship on any religion and from any period in human history that treats material objects and practices as primary evidence and engages in critical reflection on the cultural construction of materiality. In this article the editors reflect on the formation and format of the journal, the force and direction of its articles and other features, the question of what constitutes the material culture of religion, and finally the role of materiality in the current study of religions. Along the way, the editors consider new theories and concerns that have been taken up in the journal's pages and address the range of disciplines and interests that are represented in the different departments of the journal.     

Dyslexic and typical-reading children use vowel digraphs as perceptual units in reading

Digraphs are graphemes that are composed of two letters like the “ou” in “soup”. We hypothesized that the serial-reading strategy of dyslexic readers might interfere with the processing of digraphs. We used a letter-detection task to compare the processing of vowel digraphs in dyslexic and typical-reading children. Both groups were found to be slower in detecting a letter within a vowel digraph than in detecting a letter of a single-letter grapheme. The slower response to target letters embedded in a digraph was position independent in both groups. We also found that dyslexic children did not differ from typical-reading children in the detection of letters in words. These results indicate that typical-reading and dyslexic children process vowel digraphs as perceptual units and that dyslexic children do not show impairments in this early visual process.     

Similarity grouping as feature-based selection

Our visual system groups objects with similar features, such as colour, orientation, or shape. We argue that similarity grouping is nothing more than global selection of a certain feature value, such as red, horizontal, or circular. This account makes the striking prediction that only one feature group can be created at a time. Here we provide the most direct evidence yet for this proposal, using a number estimation task that forces simultaneous processing of all objects. Multiple similarity cues failed to produce grouping in this task, in contrast to proximity, connectivity, and common region, which all showed strong grouping effects.     

作为治疗的艺术：绘画艺术治疗的兴起与作用机制的探究

通过文献梳理的方式探索绘画艺术治疗兴起及其疗愈机制,揭示绘画艺术治疗的兴起具有特定的历史基础和实践发展过程。其疗愈功效是多种因素综合发挥作用的过程:人们在绘画过程中能够呈现完整的主体;通过美和创造获取积极的体验;以正念的方式沉浸在当下;非言语和象征化的形式有助于自由地进行表达和重构;其中,高质量的治疗关系是所有因素发挥效用的基础。身心关系理论和大脑可塑性为绘画艺术治疗提供了神经生物学的理论支持。绘画艺术治疗的广泛应用证明了其普适性和有效性,为人文在医疗环境中的复归提供了新的启示。     

Display size effects in visual search: Analyses of reaction time distributions as mixtures

In a reanalysis of data from Cousineau and Shiffrin (2004) and two new visual search experiments, we used a likelihood ratio test to examine the full distributions of reaction time (RT) for evidence that the display size effect is a mixture-type effect that occurs on only a proportion of trials, leaving RT in the remaining trials unaffected, as is predicted by serial self-terminating search models. Experiment 1 was a reanalysis of Cousineau and Shiffrin's data, for which a mixture effect had previously been established by a bimodal distribution of RTs, and the results confirmed that the likelihood ratio test could also detect this mixture. Experiment 2 applied the likelihood ratio test within a more standard visual search task with a relatively easy target/distractor discrimination, and Experiment 3 applied it within a target identification search task within the same types of stimuli. Neither of these experiments provided any evidence for the mixture-type display size effect predicted by serial self-terminating search models. Overall, these results suggest that serial self-terminating search models may generally be applicable only with relatively difficult target/distractor discriminations, and then only for some participants. In addition, they further illustrate the utility of analysing full RT distributions in addition to mean RT.     

Visual perspective as a two-dimensional construct in episodic future thought

Visual perspective (first-person vs. third-person) is a salient characteristic of memory and mental imagery with important cognitive and behavioural consequences. Most work on visual perspective treats it as a unidimensional construct. However, third-person perspective can have opposite effects on emotion and motivation, sometimes intensifying these and other times acting as a distancing mechanism, as in PTSD. For this reason among others, we propose that visual perspective in memory and mental imagery is best understood as varying along two dimensions: first, the degree to which first-person perspective predominates in the episodic imagery, and second, the degree to which the self is visually salient from a third-person perspective. We show that, in episodic future thinking, these are anticorrelated but non-redundant. These results further our basic understanding of the potent but divergent effects visual perspective has on emotion and motivation, both in everyday life and in psychiatric conditions.     

Questioning implicit motor learning as instantiated by the pursuit-tracking task

The effect of concurrent visual feedback on the implicit learning of repeated segments in a task of pursuit tracking has been tested. Although this feedback makes it possible to regulate the positional error during the movement, it could also induce negative guidance effects. To test this hypothesis, a first set of participants (N?=?42) were assigned to two groups, which performed either the standard pursuit-tracking task based on the experimental paradigm of Pew (1974 Pew, R. W. 1974. Levels of analysis in motor control. Brain Research, 71: 393–400. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar]; group F-ST), or a task called “movement reproduction” in which the feedback was suppressed (group noF-ST). A second set of participants (N?=?26) performed in the same feedback condition groups but in a dual-task situation (F-DT and noF-DT; Experiment 2). The results appear to confirm our predictions since the participants in groups without feedback, contrary to those in groups with feedback, succeeded with practice in differentiating their performances as a function of the nature of the segments (repeated or nonrepeated) both in simple (Experiment 1) and in dual-task (Experiment 2) situations. These experiments indicate that the feedback in the pursuit-tracking task induces a guidance function potentially resulting in an easiness tracking that prevents the participants from learning the repetition.