Foreshortening, convergence and drawings from a blind adult

Esref is a congenitally totally blind man, practiced in drawing. He was asked to draw solid and wire cubes situated in several places around his vantage point. He used foreshortening of receding sides and convergence of obliques, in approximate one-point perspective. We note that haptics provides information about the direction of objects--the basis of perspective.     

Children's drawings of significant figures for a peer or an adult audience

The present study assessed if children would present different information in their drawings of emotion eliciting stimuli when they believed that an adult or a child audience would view their drawings. Seventy‐five 6‐year‐olds (44 boys and 31 girls) were allocated to three groups: the reference group, the child audience group and the adult audience group. All children completed a drawing session where they first drew a neutral uncharacterised figure, followed by drawings of a sad and a happy figure in counterbalanced order. Findings demonstrated that children did consider who would be viewing their drawings when communicating emotional affect and included different features within their drawings. In particular, almost all happy drawings included a smile, but only those drawings where an audience was specified included a wave, and only the adult drawings included flower giving. Within the sad drawings tears and frowns were drawn regardless of audience type, whereas stomping was more likely to be portrayed in drawings with a child audience and thumbs down were more likely to be portrayed in drawings with adult audiences. The findings are discussed in terms of the need to further examine communicative aspects of children's drawings. Copyright © 2011 John Wiley & Sons, Ltd.     

Metaphoric devices in drawings of motion mean the same to the blind and the sighted

Five pictures, each with a different way of indicating motion, were given to blind and to sighted subjects--as tactual pictures for the blind, and as ink-print pictures for the sighted. The subjects matched the pictures to kinds of motion. The blind subjects concurred with each other and with the sighted in their matches. Therefore the devices are effective without explicit or formal training in their interpretation. The basis for the devices, it is argued, is not convention. Rather, the devices are metaphoric.     

Evolution and Providence: A Response to Thomas Tracy

The role of chance in evolutionary process need not negate belief in the purposes of the Creator. The nature of causality is not determined by science alone, for it requires also acts of metaphysical decision. Moreover, science's accounts of physical reality are notably patchy, with relationships between different regimes often ill-understood An honest science cannot exclude the exercise of agency, either human or divine. Evolutionary insight can offer some help with the problems of theodicy.     

Learning and generalization in haptic classification of 2-D raised-line drawings of facial expressions of emotion by sighted and adventitiously blind observers

Sighted blindfolded individuals can successfully classify basic facial expressions of emotion (FEEs) by manually exploring simple 2-D raised-line drawings (Lederman et al 2008, IEEE Transactions on Haptics 1 27-38). The effect of training on classification accuracy was assessed by sixty sighted blindfolded participants (experiment 1) and by three adventitiously blind participants (experiment 2). We further investigated whether the underlying learning process(es) constituted token-specific learning and/or generalization. A hybrid learning paradigm comprising pre/post and old/new test comparisons was used. For both participant groups, classification accuracy for old (ie trained) drawings markedly increased over study trials (mean improvement --76%, and 88%, respectively). Additionally, RT decreased by a mean of 30% for the sighted, and 31% for the adventitiously blind. Learning was mostly token-specific, but some generalization was also observed for both groups. The sighted classified novel drawings of all six FEEs faster with training (mean RT decrease = 20%). Accuracy also improved significantly (mean improvement = 20%), but this improvement was restricted to two FEEs (anger and sadness). Two of three adventitiously blind participants classified new drawings more accurately (mean improvement = 30%); however, RTs for this group did not reflect generalization. Based on a limited number of blind subjects, our results tentatively suggest that adventitiously blind individuals learn to haptically classify FEEs as well as, or even better than, sighted persons.     

Haptics of the heart: The sense of touch in American religion and culture

This essay undertakes a tactile exploration of the sense of touch in contemporary American culture and religion. After briefly recalling the denigration of tactility in Western thought, I consider the usefulness of the work of two theorists, Emmanuel Levinas and Walter Benjamin, in recovering the sense of touch—the intimate caress, the violent shock—as deep background for tracking basic modes of religious tactility. By paying attention to sensory media and metaphors, I hope to suggest some features of religious tactility that are not necessarily seen or heard but nevertheless pervade contemporary religion and culture. Schematically, I proceed from cutaneous binding and burning, through kinaesthetic moving, to haptic handling in order to enter this field of tactile meaning and power. Along the way, I touch on specific cases of religious tactility—sometimes caressing, more often striking—that include US President Bill Clinton, firewalking, flag burning, alien abduction, global capitalism, and cellular microbiology. Although this exploratory essay replicates a tactile experience by renouncing visual mapping and verbal argumentation, it points to the presence of a tactile politics of perception that operates at the intersections between human subjectivity and the social collectivity.     

Developmental picture norms: Relationships between name agreement,familiarity, and visual complexity for child and adult ratings of two sets of line drawings

Developmental differences in name agreement, familiarity, and visual complexity in response to line drawings of common objects were obtained from children and adults. Sixty-one pictures were taken from the Peabody Picture Vocabulary Test-Revised and 259 pictures were taken from the set normed for adults by Snodgrass and Vanderwart (1980). Although there were some differences between the two sets of pictures, the present results replicated the relative independence of these three measures, which was reported by Snodgrass and Vanderwart for adults. Children and adults showed substantial agreement on the names of the pictures. Although the children’s ratings were lower on all measures, the differences were trivial for most pictures. We concluded that judgments of familiarity, complexity, and the names of line drawings of common objects are based primarily on information processing accomplished prior to age 7.     

Haptics in teaching handwriting: the role of perceptual and visuo-motor skills

Two studies were carried out in order to better understand the role of perceptual and visuo-motor skills in handwriting. Two training programs, visual-haptic (VH) and visual (V), were compared which differed in the way children explored the letters. The results revealed that improvements of VH training on letter recognition and handwriting quality were higher than improvements after V training. We suppose that VH training was more efficient because it improved both perceptual and visuo-motor skills. In the second experiment, in order to investigate the part of each component, we assessed the link between visuo-motor skills, perceptual skills and handwriting. The results showed that only the visuo-motor tasks predict handwriting copying performance. These results are discussed in relation to the respective roles of the perceptual and visuo-motor skills on letter shape learning and handwriting movement execution.     

Inside-of-the-Body test drawings performed by patients with neuromuscular diseases: a preliminary report.

Inside-of-the-Body test drawings were obtained from 50 individuals with various neuromuscular diseases. A mean of 18.0 +/- 5.1 body parts were identified in the drawings. Diseased body structures were emphasized by most patients; for example, thymus was only drawn by individuals with myasthenia gravis, while muscle was only identified by individuals with polymyositis. In contrast, drawings by individuals with neuropathic atrophy omitted the atrophic extremities.     

Drawings from Gaia,a blind girl

Gaia, a totally blind girl, was asked to make raised-line drawings. Gaia's vision at best was peripheral. She draws out of interest, and has drawn since preschool with encouragement from her mother. She was asked to draw objects and scenes involving depth from a vantage point, eg a table from below, two cars (one behind the other), and two parallel rows of apples (receding from her, on a table top). Gaia represented space in her drawings using T-junctions for overlap, height in the picture plane, parallel projection, and inverse projection. That is, Gaia uses features of systems common in sighted children's drawings. The development of drawing in blind and sighted children may be similar in good measure because haptics provides access to many of the same spatial principles as vision.     

Cognitive differentiation, back pain, and psychogenic pain drawings

Two groups of subjects with back pain were studied (n = 67). All subjects underwent a battery of psychological tests which included a test of psychological differentiation (the Rod-and-Frame Test), a test of psychological defenses (Meta-contrast Technique), and the Eysenck Personality Inventory. In addition, the subjects drew a pain picture and answered a questionnaire on pain-related issues. Each group of subjects was then subdivided into 4 groups depending on the judged abnormality of their pain drawings. The two main groups were compared overall and the subgroups of the two back-pain groups compared with each other. The Meta-contrast Technique results show that depression was quite common among back-pain subjects as a whole compared to a painless group of subjects. Differences were found on field-dependence; subjects with abnormal pain drawings were more field-dependent than those with "normal" pain drawings. Few other between-group statistical differences were noted between the two back-pain groups. Expected scores on hysteria were not noted among the abnormal drawing makers, neither were there differences between the groups on the items of pain duration, physical functionings, or of depression.     

Causal projection,similarity projection,and coping with threat to self-esteem1

The effectiveness of causal projection and similarity projection in controlling stress associated with threat to self-esteem was investigated. To induce threat to self-esteem, half of the subjects were told that they had done poorly on an important achievement test while the remaining subjects were not told that they had done poorly. The projection strategies were manipulated by encouraging subjects to attribute the cause of their poor performance to the examiner instead of to themselves (causal projection) or to estimate how poorly their friends would have scored on the test had they taken it and not performed well on it (similarity projection). Measures of subjective anxiety, depression, and anger indicated that (a) the testing situation and negative feedback were effective in increasing stress, (b) causal projection was effective in controlling stress, and (c) similarity projection was partially effective in controlling stress. The results provide evidence that causal projection can be effective in controlling stress and also have implications concerning the conditions under which the use of projection will and will not be effective for coping with stress. The importance that situational factors may have on the effectiveness of cognitive coping strategies was emphasized.     

Simulation, projection and empathy

Simulationists have recently started to employ the term “empathy” when characterizing our most basic understanding of other minds. I agree that empathy is crucial, but I think it is being misconstrued by the simulationists. Using some ideas to be found in Scheler’s classical discussion of empathy, I will argue for a different understanding of the notion. More specifically, I will argue that there are basic levels of interpersonal understanding—in particular the understanding of emotional expressions—that are not explicable in terms of simulation-plus-projection routines.     

Depictions of motion devised by a blind person

A blind man (E.A.) was asked to draw pictures suggesting wheels in various kinds of motion. Six pictures were drawn by E.A. The pictures were shown to sighted subjects, who were asked to assign labels to the pictures, in a multiple-choice format. The labels were assigned at a rate above chance. We argue that the pictures are metaphoric and that pictorial metaphor relies on common properties of the static picture and the kinetic referent.     

Reproduction of musical rhythms by children,adult musicians,and adult nonmusicians

Many sequential events, musical rhythms in particular, can be described by a hierarchical structure, with lower order events recursively combining to form higher levels. This study investigated factors influencing the ease of reproduction of short musical rhythms that reflect various organizational principles. For adults and children, reproduction was better for rhythms with the following characteristics: (1) binary rather than ternary subdivision, (2) two rather than three different durations, (3) the ability to be segmented into two shorter rhythms of identical duration, and (4) intensity accents on important hierarchical positions. These findings suggest that a prototypical temporal structure—that is, a regular beat with binary subdivisions—is functional in childhood. The ability to process complex hierarchical structure appeared to be influenced more by musical training than by passive acculturation.