The Cookie Paradox

We’ve all been at parties where there's one cookie left on what was once a plate full of cookies, a cookie no one will eat simply because everyone is following a rule of etiquette, according to which you’re not supposed to eat the last cookie. Or at least we think everyone is following this rule, but maybe not. In this paper I present a new paradox, the Cookie Paradox, which is an argument that seems to prove that in any situation in which everyone is truly following the rule, no one eats any cookies at all, no matter how many there are to be eaten. The ‘Cookie Argument’ resembles the more familiar argument that surprise exams are impossible, but it's not exactly the same. I argue that the biggest difference is that, unlike the surprise exam argument, the Cookie Argument is actually sound! I conclude the paper by explaining how it could be possible for a group of people to engage in behavior (eating cookies) that guarantees that at least one of the members of the group will violate a rule, even when it's common knowledge in the group that everyone is committed to following that very rule.

Sometimes me think, “What is friend?” and then me say, “Friend is someone to share the last cookie with.” ‐ Cookie Monster, http://youtu.be/LHh0A_bH5ig 1 1 I’m grateful to Eric Carter for this quote.

     

The practice of humanitarian work psychology

Humanitarian work psychology (HWP) seeks to improve the welfare of workers who provide a broad range of support to survivors of calamities both natural and man-made. It is an emerging interdisciplinary field of practice spanning expertise from many psychological fields to promote decent work and safe work conditions for those at the forefront of acute disasters of any kind. Personnel functions and health and safety issues are critical to humanitarian service roles. Research is needed to best inform the practice of humanitarian work in a globalised world culture, including strategies to support the well-being of individuals that are involved in humanitarian work.     

You detect while I search: examining visual search efficiency in a joint search task

Numerous factors impact attentional allocation, with behaviour being strongly influenced by the interaction between individual intent and our visual environment. Traditionally, visual search efficiency has been studied under solo search conditions. Here, we propose a novel joint search paradigm where one individual controls the visual input available to another individual via a gaze contingent window (e.g., Participant 1 controls the window with their eye movements and Participant 2 – in an adjoining room – sees only stimuli that Participant 1 is fixating and responds to the target accordingly). Pairs of participants completed three blocks of a detection task that required them to: (1) search and detect the target individually, (2) search the display while their partner performed the detection task, or (3) detect while their partner searched. Search was most accurate when the person detecting was doing so for the second time while the person controlling the visual input was doing so for the first time, even when compared to participants with advanced solo or joint task experience (Experiments 2 and 3). Through surrendering control of one’s search strategy, we posit that there is a benefit of a reduced working memory load for the detector resulting in more accurate search. This paradigm creates a counterintuitive speed/accuracy trade-off which combines the heightened ability that comes from task experience (discrimination task) with the slower performance times associated with a novel task (the initial search) to create a potentially more efficient method of visual search.     

What 4′33″ Is

What is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence (rather than containing environmental sounds), that it is a work of performance art (rather than music), and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation of those who are at first resistant to its charms.     

Glued to the Image: A Critical Phenomenology of Racialization through Works of Art

I develop a phenomenological account of racialized encounters with works of art and film, wherein the racialized viewer feels cast as perpetually past, coming “too late” to intervene in the meaning of her own representation. This points to the distinctive role that the colonial past plays in mediating and constructing our self‐images. I draw on my experience of three exhibitions that take Muslims and/or Arabs as their subject matter and that ostensibly try to interrupt or subvert racialization while reproducing some of its tropes. My examples are the Jean‐Joseph Benjamin‐Constant exhibition at the Montreal Museum of Fine Arts (2015), the exposition Welten der Muslime at the Ethnologisches Museum in Berlin (2011–2017), and a sculpture by Bob and Roberta Smith at the Leeds City Art Gallery, created in response to the imperial power painting, General Gordon's Last Stand, that is housed there. My interest is in how artworks contribute to the experience of being racialized in ways that not only amplify the circulation of images but also constitute difficult temporal relations to images. Drawing on Frantz Fanon's Black Skin, White Masks, I argue that such racialized images are temporally gluey, or stuck, so that we are weighted and bogged down by them.