On a changing perspective illusion within Vermeer's The Music Lesson

The effect of line of sight on the perception of spatial configuration has been investigated in a well-known painting (The Music Lesson by Vermeer) and in two control patterns. In experiment 1, subjects indicated the perceived inclination of two major contours which defined the sidewall-floor and backwall-floor joints in (i) a projected image of the painting, (ii) a three-line representation of the major spatial elements of the painting, and (iii) a three-dimensional wire model of these same contours, when standing in each of eighteen positions on a line running parallel to the surface of the screen. Results indicated a significant change in the perception of the sidewall-floor, but not of the backwall-floor contour, as viewing angle changed, in both the painting and the three-line representation. However, the angular setting in the latter case was significantly less than when the painting was used, ie subjects underestimated the depicted inclination. Settings for the wire model did not deviate with viewing angle and reflected geometrically correct adjustments. In experiment 2, the results of experiment 1 were confirmed using enantiomorphs. These findings are discussed in the light of other view-dependent illusions in paintings.     

No Blame No Gain? From a No Blame Culture to a Responsibility Culture in Medicine

Healthcare systems need to consider not only how to prevent error, but how to respond to errors when they occur. In the United Kingdom’s National Health Service, one strand of this latter response is the ‘No Blame Culture’, which draws attention from individuals and towards systems in the process of understanding an error. Defences of the No Blame Culture typically fail to distinguish between blaming someone and holding them responsible. This article argues for a ‘responsibility culture’, where healthcare professionals are held responsible in cases of foreseeable and avoidable errors. We demonstrate how healthcare professionals can justifiably be held responsible for their errors even though they work in challenging circumstances. We then review the idea of ‘responsibility without blame’, applying this to cases of error in healthcare. Sensitive to the undesirable effects of blaming healthcare professionals and to the moral significance of holding individuals accountable, we argue that a responsibility culture has significant advantages over a No Blame Culture due to its capacity to enhance patient safety and support medical professionals in learning from their mistakes, while also recognising and validating the legitimate sense of responsibility that many medical professionals feel following avoidable error, and motivating medical professionals to report errors.     

Visual parsing and priority effects in temporal order judgements of line drawn patterns

Five experiments are reported in which the perception of the order of the components of line drawn patterns presented in rapid temporal sequence on a visual display unit was investigated. In experiments 1 and 2, respectively, a schematic face and an asymmetrical geometric design, and a realistic face and a symmetrical geometric design were each divided into four fragments consisting of outline and three internal features. These fragments were presented to observers in sequences in which the position of the outline in the sequence was systematically varied. Observers reported the perceived order of the fragments. If the order was misperceived the interfragment interval was increased until the sequence was correctly perceived. Analysis of the pattern of perceptual errors and the interfragment presentation interval at which the sequence was correctly perceived indicated that observers tended to perceive the sequence correctly when the outline was presented in first or last position, but had difficulty in doing this when it occupied an intermediate position. This effect was significantly stronger with facial than with geometric patterns. Furthermore, in the case of two face patterns, errors were of a form where observers reported the outline presented in positions two or three as occupying positions one or four respectively. In experiment 3 an identical procedure was used to compare the perception of temporally fragmented normal and inverted faces. The outline position effect was equally strong in both cases. In experiment 4 the relative strength of the tendency to move the outline towards first or final position was assessed by dividing each of two patterns, a face and a house, into three fragments consisting of outline and two groups of internal features. Order perception was significantly better with outline in first or third position, but where it was presented in the intermediate position it was reported as being presented in first position. In experiment 5 the general pattern of results obtained in experiments 1, 2, and 3 was verified with the use of a methodology in which pattern fragment sequences and interfragment intervals were both randomised from trial to trial and the observer's task was to specify the position of the outline in the sequence. Four patterns--a normal face, a face with inverted internal features (INF face), a face outline with irrelevant internal features (IRF face), and a geometric design--were each divided into four fragments consisting of outline and three internal features.(ABSTRACT TRUNCATED AT 400 WORDS)