Visual Art and the Rhythm of Experience

The concept of rhythm is frequently used by art historians, critics, and philosophers as a way of describing central features of visual art. Since rhythm is generally considered to be a temporal phenomenon associated with music, it is far from clear how visual art, composed of fixed lines, figures, and color, can be associated with rhythmicity. Linked to a temporal ordering or structure in music, the notion of rhythm in visual art leads to a claim that the aesthetic aspect of a painting does not consist in, or emerge from, its spatial structures, but rather its temporal ordering of the visual field. Recently this account of rhythm in visual art has been criticized by philosopher Jason Gaiger, who argues that visual art does not comprise movement and therefore cannot be associated with a temporal rhythm. Through a discussion of temporality and rhythm in Edmund Husserl, Erwin Straus, and Henri Maldiney, this article maintains that rhythmicity is a central aspect of experiences with visual art. It is shown that the phenomenological account of rhythm in the experience of visual art is fundamentally linked to a different notion of time.     

The efficacy of teaching psychology students exposure and response prevention for obsessive-compulsive disorder

The aim of the study was to investigate whether inexperienced student therapists could successfully learn exposure and response prevention for obsessive-compulsive disorder. Twenty out of 21 outpatients completed treatment as delivered by ten psychology students. A total of 60 hours group supervision and approximately 30 hours with individual supervision was given to the students over the course of three semesters. Large effect sizes were observed for measures of symptoms and depression. Sixty-two percent ( N = 13) of the intent to treat group achieved clinical significant change and 81% no longer met the diagnosis criteria ( N = 17). The treatment effects observed at the 6 month follow-up period were promising. The results are encouraging for training students in evidence based treatment for specific disorders.     

Dark adaptation of the long-wave cones at different eccentricities

Using a Wright colorimeter the ordinary long-term, long-wave cone dark-adaptation curve was measured at 0, 2, 4, 7, 17, 25, 40 and 49 degrees nasally in the visual field. In opposition to previous findings, the results show that the dark-adaptation function of the long-wave cones changes markedly when the test field is moved outward from the rod-free fovea. It is suggested that the kinetics of the long-wave cone photopigment change with eccentricity. Also, at variance with previous findings, the present curves at all eccentricities may reasonably well be interpreted as consisting of three different sections; a first section where the threshold decreases rapidly, followed by a major, approximately linear section and a terminating section that converges asymptotically towards the final level of sensitivity. This finding suggests that the dark-adaptation process of the cone system, under the given experimental conditions, is based on three somewhat different processes.