Pain in the eye of the beholder: Variations in pain visual representations as a function of face ethnicity and culture

Pain experienced by Black individuals is systematically underestimated, and recent studies have shown that part of this bias is rooted in perceptual factors. We used Reverse Correlation to estimate visual representations of the pain expression in Black and White faces, in participants originating from both Western and African countries. Groups of raters were then asked to evaluate the presence of pain and other emotions in these representations. A second group of White raters then evaluated those same representations placed over a neutral background face (50% White; 50% Black). Image-based analyses show significant effects of culture and face ethnicity, but no interaction between the two factors. Western representations were more likely to be judged as expressing pain than African representations. For both cultural groups, raters also perceived more pain in White face representations than in Black face representations. However, when changing the background stimulus to the neutral background face, this effect of face ethnic profile disappeared. Overall, these results suggest that individuals have different expectations of how pain is expressed by Black and White individuals, and that cultural factors may explain a part of this phenomenon     

Some comments in connection with Rozeboom's linear correlation theory

It is shown that certain correlation measures suggested by information theory are simple functions of the determinants of the correlation matrices involved, if multivariate normality is assumed. This illuminates and in a sense strengthens Rozeboom's point in [3], that information theoretical statistics have classical correlational counterparts.     

Une hypothèse sur l'extension des relations finies et sa vérification dans certaines classes particulières

Sans résumé     

Some reflections on the notion of hypotyposis in Kant

In the Critique of Judgement, Kant, despite his strong condemnation of rhetoric, introduces the figure of hypotyposis at the very moment he sets out to tackle the philosophical problem of presentation as such. This study holds that this choice of the rhetorical term is not fortuitous. Its connotations of vivid illustration, synopsis, and moral grandeur serve Kant in arguing that, on a transcendental level, presentation secures the mind's life, unity, and self-affection. Although of rhetorical origin, hypotyposis is thus shown to link up with a specifically philosophical meaning of the term in the writings of Aristotle.