Nonholistic processing in mental rotation: Some suggestive evidence

A series of experiments, using a modification of the Shepard and Metzler mental rotation task, was performed to investigate Shepard’s “holistic rotation” hypothesis. Effective figural complexity was manipulated in the experiments in two distinct ways. In one manipulation, blocks were added to the standard 10-blockfigures. In the other manipulation, the figures used and the direction of angular rotation were restricted so that some featural information in the figures was redundant, that is, unnecessary for the discrimination task at hand. There were two major conclusions. First, when figural complexity is effectively manipulated, it has a powerful effect on the “speed of mental rotation,” as measured by the slope of the curve relating reaction time to angular disparity. Second, it is possible, by ignoring featural redundancy, to construct experimental paradigms in which “complexity” of figures is apparently manipulated but has no effect on speed of mental rotation. This fact provides a possible explanation of why some previous experiments have failed to find a complexity effect in mental rotation.     

A Career Assistance Program for Elite Athletes

A program to assist elite athletes in coping with the transition out of active sport competition is presented. A life span development framework is used to describe the formulation of the program. An outline of the program is presented, and implications for counselors are discussed.     

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.