Why Trompe l'oeils Deceive Our Visual Experience

Philosophers suggested that usual picture perception requires the simultaneous occurrence of the perception of the surface and of the depicted object. However, there are special cases of picture perception, such as trompe l'oeil perception, in which, unlike in usual picture perception, the object looks like a real, present object we can interact with, of the kind we are usually acquainted with in face-to-face perception. While philosophers suggested that usual picture perception and trompe l'oeil perception must differ with respect to the perception of the surface, nobody has ever proposed a final explanatory account for such a difference. Here, I propose such an account. I consider the two possible options as candidates for the explanation of the illusory power of trompe l'oeil perception. The first is that, with trompe l'oeils, we perceive the surface unconsciously. The second is that, with trompe l'oeils, we cannot perceive the surface at all, that is, we cannot perceive it either consciously or unconsciously. I show that the second option is the unique plausible option, as it is in line with vision science, and with our received view about the nature of usual picture perception.     

Empirical Conditions for a Reidean Geometry of Visual Experience

Thomas Reid’s Geometry of Visibles, according to which the geometrical properties of an object’s perspectival appearance equal the geometrical properties of its projection on the inside of a sphere with the eye in its centre allows for two different interpretations. It may (1) be understood as a theory about phenomenal visual space—i.e. an account of how things appear to human observers from a certain point of view—or it may (2) be seen as a mathematical model of viewpoint-relative but mind-independent relational properties of objects. This paper makes a systematic and a historical claim. I shall argue, first, that given certain features of the human visual system phenomenal visual space differs in several aspects from Reidean visual space. Secondly, I suggest that, since Reid was aware of some of these empirical facts, we should interpret Reid as endorsing the second interpretation of the Geometry of Visibles.     

Rhythm and dominance

Subjects were tested by a short experimental procedure involving tapping of a rhythm with one limb with a simultaneous regular beat with another limb. Informal observations had suggested a rhythm dominance effect—that is was dramatically easier with some limb combinations. Notably it was easy when the right hand tapped the rhythm and the left hand the beat but almost impossible the other way round. Equally, both hands dominated both feet. Our tests revealed enormous individual differences, subjects separating neatly into three groups. Some people could not do the task at all, some could do it with any limb combination, the latter group including all the serious musicians tested. For the remainder the rhythm dominance effect was clear. However, the laterality effect was the same (right hand advantage) for a majority (60%) of left handers. We conclude, then, that this effect is linked to language dominance and not handedness. In addition it seems there is a task scheduler which imposes its own view in combining this laterality effect with the dominance of hands over feet.     

The Creative Process in Visual Art: A Longitudinal Multivariate Study

The purpose of this research was to study the creative process in real-life settings and in a multicomponential perspective of creativity. Relations between the creative process and other important variables (mood, personality, and the creative product) were investigated. The data analyzed were collected in four applied art schools (n = 41) in Switzerland, during mandatory workshops. The creative process was operationalized through 2 subprocesses: generation (idea production) and selection (idea evaluation), both repeatedly measured across the workshops. The trajectories of theses subprocesses were modeled with a commonly used statistical model for longitudinal data (Latent Growth Models). Results showed that generation had an overall decreasing pattern through time, whereas selection had an inverted U-shaped pattern. Important individual differences in both subprocesses and related variables were also found, many of which had strong predictive validity. Indeed, process and personality variables explained 70% of the variance of the evaluation of the final product.     

Perceptual Judgments of Sports Officials are Influenced by their Motor and Visual Experience

We examined the relation between previous motor and visual experience and current officiating experience of expert judges and referees and their judgments from an embodied cognition viewpoint. A total of 370 sports officials from soccer, handball, ice hockey, and trampoline took part in the study. Analyses revealed that cognitive judgments are related to motor, visual, and officiating experience to different degrees in the analyzed sports. Our findings indicate that, depending on the sport, sports officials should either specialize early in officiating, or gather visuo-motor experience as an athlete or spectator first, and then switch roles to become a sports official.     

Rhythm and the timing of movement sequences

Summary Many motor skills involve a sequence of movements phased over a period of time. The present study investigated the importance of rhythmic timing structures in the acquisition and control of a serial key-pressing task. Four groups of subjects received extensive practice on 9-element finger sequences varying in the form of the inherent temporal structure. Following a training period, the stability of the various timing patterns was examined by requiring subjects to perform the key-pressing task concurrently with a verbal memory task. The memory task involved reporting back a sequence of visually-presented words with a lag of one word. A comparison was made of performance on the two tasks under dual task and control (single task) conditions. The results suggested that natural rhythmic timing structures require less attention for production than unnatural temporal patterns. A breakdown of the temporal patterns into within-group and between-group intervals showed that patterns containing within-group intervals that related as 1:1 or 1:2 evidenced good stability under dual-task conditions. These results were taken as support for the suggestion by Fraisse (1946) that the perception and production of rhythms can be understood by an internal representation that allows only two distinct durations that relate as 1:2. Furthermore, it was suggested that relative timing may become an invariant property of motor program representation only in those instances in which the timing sequence completely fits the internal timing structure.     

Lost in the Rhythm: Effects of Rhythm on Subsequent Interpersonal Coordination

Music is a natural human expression present in all cultures, but the functions it serves are still debated. Previous research indicates that rhythm, an essential feature of music, can enhance coordination of movement and increase social bonding. However, the prolonged effects of rhythm have not yet been investigated. In this study, pairs of participants were exposed to one of three kinds of auditory stimuli (rhythmic, arrhythmic, or white‐noise) and subsequently engaged in five trials of a joint‐action task demanding interpersonal coordination. We show that when compared with the other two stimuli, exposure to the rhythmic beat reduced the practice effect in task performance. Analysis of the behavioral data suggests that this reduction results from more temporally coupled motor movements over successive trials and that shared exposure to rhythm facilitates interpersonal motor coupling, which in this context serves to impede the attainment of necessary dynamic coordination. We propose that rhythm has the potential to enhance interpersonal motor coupling, which might serve as a mechanism behind its facilitation of positive social attitudes.     

African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art

In two essays in the ART/Artifact (1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.     

Public Art and Dewey's Democratic Experience: The Case of John Adams's On the Transmigration of Souls

The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational for well‐functioning democracies. The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy.     

The Development of Invariant Object Recognition Requires Visual Experience With Temporally Smooth Objects

How do newborns learn to recognize objects? According to temporal learning models in computational neuroscience, the brain constructs object representations by extracting smoothly changing features from the environment. To date, however, it is unknown whether newborns depend on smoothly changing features to build invariant object representations. Here, we used an automated controlled‐rearing method to examine whether visual experience with smoothly changing features facilitates the development of view‐invariant object recognition in a newborn animal model—the domestic chick (Gallus gallus). When newborn chicks were reared with a virtual object that moved smoothly over time, the chicks created view‐invariant representations that were selective for object identity and tolerant to viewpoint changes. Conversely, when newborn chicks were reared with a temporally non‐smooth object, the chicks developed less selectivity for identity features and less tolerance to viewpoint changes. These results provide evidence for a “smoothness constraint” on the development of invariant object recognition and indicate that newborns leverage the temporal smoothness of natural visual environments to build abstract mental models of objects.     

Stress-Related Growth Experience: Listening to Korean Adolescents who have Visual Impairments

Research suggests that negative life events facilitate stress-related growth, such as the development of coping strategies and restoration skills. In this study, we aimed to capture the characteristics of stress-related growth among Korean adolescents who have visual impairments. Using a constructive grounded theory methodology, three themes were identified as characteristics of stress-related growth experiences: (a) developing meaningful relationships, (b) creating coping strategies, and (c) discovering personal strength. This study indicates that Korean adolescents who had visual impairments developed their own coping strategies to deal with various stressors and increased their awareness of their inner strengths and talents. It also suggests that challenging life circumstances may provide opportunities for Korean adolescents who have visual impairments to experience emotional wellbeing.