The oral transmission of the Quran has long been the subject of dispute. Some scholars have asserted that the canonical reading traditions are products of attempts at deciphering the ʿUthmānic text without reference to a living oral tradition. Although our understanding of the written Quran in early Islam has advanced considerably in recent years, the same cannot be said for the oral Quran. A careful study of the consonantal dotting patterns between the canonical readings reveals independent Medinan, Meccan-Basran, and (...) Kufan regional traditions. Through additional statistical analysis and corresponding manuscript evidence, I demonstrate the existence of an inherited oral tradition that likely dates to the time of the ʿUthmānic recension and among the first generation of the followers of Muḥammad. (shrink)

I present a hypothetical account of how the ancients might have come to introduce mathematical objects in order to describe patterns, and I explain how working with patterns can generate information about the mathematical realm. The ancients might have started using what I call templates, i.e. concrete devices, like blueprints or drawings, to represent how things are shaped or structured, and this could have evolved into representing the abstract patterns that concrete things might fit. In this way, (...) they might have come to believe that written constructions and computations could provide information about the mathematical realm, for by their very nature, patterns should be structurally analogous to their templates and in positing that they are, one simply projects onto structures and features already attributed to templates. By reflecting on systems of dots representing cardinalities, the ancients could generate a body of results that then evolved into a systematic theory of numbers, but the approach fails when there is no direct connection between the computations and the patterns they are supposed to concern, e.g. those concerning trigonometric functions or transfinite ordinal numbers. In these cases, we forge a connection between proofs and patterns by positing that the premises of the proofs state uncontroversial features of the patterns, i.e. the premises constitute implicit definitions of the patterns. I explain how this position does not entail that mathematics is analytic or a priori. (shrink)

A series of experiments was performed in which subjects indicated whether two four-dot patterns were the same, although possibly viewed from different directions, or different, paired at random. Analyses of responses times and error rates suggest that the subjects' performance in this affine matching task is based on non-accidental properties such as convexity, parallelism, collinearity, and proximity, rather than on real affine invariants such as the ratio of triangular areas.

An important factor in judging whether two retinal images arise from the same object viewed from different positions may be the presence of certain properties or cues that are 'qualitative invariants' with respect to the natural transformations, particularly affine transformations, associated with changes in viewpoint. To test whether observers use certain affine qualitative cues such as concavity, convexity, collinearity, and parallelism of the image elements, a 'same-different' discrimination experiment was carried out with planar patterns that were defined by four (...) points either connected by straight line segments (line patterns) or marked by dots (dot patterns). The first three points of each pattern were generated randomly; the fourth point fell on their diagonal bisector. According to the position of that point, the patterns were concave, triangular (three points being collinear), convex, or parallel sided. In a 'same' trial, an affine transformation was applied to one of two identical patterns; in a 'different' trial, the affine transformation was applied after the point lying on the diagonal bisector was perturbed a short, fixed distance along the bisector, inwards for one pattern and outwards for the other. Observers' ability to discriminate 'same' from 'different' pairs of patterns depended strongly on the position of the fourth, displaced, point: performance varied rapidly when the position of the displaced point was such that the patterns were nearly triangular or nearly parallel sided, consistent with observers using the hypothesised qualitative cues. The experimental data were fitted with a simple probabilistic model of discrimination performance that used a combination of these qualitative cues and a single quantitative cue. (shrink)

Morphological EvoDevo is a field of biological inquiry in which explicit relations between evolutionary patterns and growth or morphogenetic processes are made. Historically, morphological EvoDevo results from the coming together of several traditions, notably Naturphilosophie, embryology, the study of heterochrony, and developmental constraints. A special feature binding different approaches to morphological EvoDevo is the use of formalisms and mathematical models. Here we will introduce anatomical network analysis, a new approach centered on connectivity patterns formed by anatomical parts, with (...) its own concepts and tools specifically designed for the study of morphological EvoDevo questions. Riedl’s concept of burden is tightly related to the use of anatomical networks, providing a nexus between the evolutionary patterns and the structural constraints that shape them. (shrink)

“Source monitoring” theory is applied to the turn-of-the-century argument that, whenever binocularly fused patterns are self-consciously apperceived, both eyes' monocular sensations are consciously perceived. According to monitoring theory's refinement of the argument, binocularly apperceived patterns are accompanied by selfconsciousness that one is perceiving patterns , whereas monocular sensations are accompanied by no self-consciousness of their source. In the current test of this refined argument, 32 subjects were monocularly presented with 6 letters of the alphabet, while binocularly fusing (...) 6 different letters, and were subsequently required to discriminate these 12 letters from 6 other letters that they had visually imaged. Consistent with monitoring theory, the results of experimental testing suggest that binocularly fused letters are neurally monitored as “peripheral,” self-consciously experienced as “perceived,” and subsequently remembered as not “imaged.” The results further suggest that, during such binocular apperception, monocular data are not totally unconscious-like computer data-but are consciously experienced as “sourceless” sensations that are memorially confused with visually imaged sensations. (shrink)

Developmental dyscalculia (DD) is a pervasive difficulty affecting number processing and arithmetic. It is encountered in around 6% of school-aged children. While previous studies have mainly focused on general cognitive functions, the present paper aims to further investigate the hypothesis of a specific numerical deficit in dyscalculia. The performance of 10- and 11-year-old children with DD characterised by a weakness in arithmetic facts retrieval and age-matched control children was compared on various number comparison tasks. Participants were asked to compare a (...) quantity presented in either a symbolic (Arabic numerals, number words, canonical dots patterns) or a nonsymbolic format (noncanonical dots patterns, and random sticks patterns) to the reference quantity 5. DD children showed a greater numerical distance effect than control children, irrespective of the number format. This favours a deficit in the specialised cognitive system underlying the processing of number magnitude in children with DD. Results are discussed in terms of access and representation deficit hypotheses. (shrink)

Models of recognition memory have traditionally struggled with the puzzle of criterion setting, a problem that is particularly acute in cases in which items for study and test are of widely varying types, with differing degrees of baseline familiarity and experience (e.g., words vs. random dot patterns). We present a dynamic model of the recognition process that addresses the criterion setting problem and produces joint predictions for choice and reaction time. In this model, recognition decisions are based not on (...) the absolute value of familiarity, but on how familiarity changes over time as features are sampled from the test item. Decisions are the outcome of a race between two parallel accumulators: one that accumulates positive changes in familiarity (leading to an ‘‘old’’ decision) and another that accumulates negative changes (leading to a ‘‘new’’ decision). Simulations with this model make realistic predictions for recognition performance and latency regardless of the baseline familiarity of study and test items. (shrink)

People prefer prototypical stimuli over atypical stimuli. The dominant explanation for this prototype preference effect is that prototypical stimuli are processed more fluently. However, a more recent account proposes that prototypes are more strongly associated with their category’s valence, leading to a reversed prototype preference effect for negative categories. One critical but untested assumption of this category-valence account is that no prototype preference should emerge for entirely neutral categories. We tested this prediction by conditioning categories of dot patterns positively, (...) negatively, or neutrally. In line with previous findings on the category-valence account, prototype preference reversed for negatively conditioned categories. However, prototype preference was similarly strong for positive and neutral categories. These findings imply that prototype preferences do not only reflect a transfer of category valence to exemplars. Instead, the results suggest that prototype preference is a multi-process phenomenon arising from the activated category valence and a fluency-based process. We discuss further implications for theories on fluency and prototype preference. (shrink)

The goal of this study is to characterize observers’ abilities to discriminate between endogenous and exogenous changes. To do so, we developed a new experimental paradigm. On each trial, participants were shown a dot pattern on the screen. Next, the pattern disappeared and participants were to reproduce it. Changes were surreptuously introduced in the stimulus, either by presenting participants anew with the dot pattern they had themselves produced on the previous trial or by presenting participants with a slightly different dot (...) pattern . We analyzed awareness of the changes and behavioral adaptation to them in a dynamical manner. We observe signal attenuation in the presence of endogenous change, dissociation between self-attribution reports and behavioral effect of agency. We discuss the source of this sensitive attenuation as well as the relation between a minimal or core self and an extended, narrative or autobiographical self. (shrink)

The relationship between brain activity and conscious visual experience is central to our understanding of the neural mechanisms underlying perception. Binocular rivalry, where monocular stimuli compete for perceptual dominance, has been previously used to dissociate the constant stimulus from the varying percept. We report here fMRI results from humans experiencing binocular rivalry under a dichoptic stimulation paradigm that consisted of two drifting random dot patterns with different motion coherence. Each pattern had also a different color, which both enhanced rivalry (...) and was used for reporting which of the two patterns was visible at each time. As the perception of the subjects alternated between coherent motion and motion noise, we examined the effect that these alternations had on the strength of the MR signal throughout the brain. Our results demonstrate that motion perception is able to modulate the activity of several of the visual areas which are known to be involved in motion processing. More specifically, in addition to area V5 which showed the strongest modulation, a higher activity during the perception of motion than during the perception of noise was also clearly observed in areas V3A and LOC, and less so in area V3. In previous studies, these areas had been selectively activated by motion stimuli but whether their activity reflects motion perception or not remained unclear; here we show that they are involved in motion perception as well. The present findings therefore suggest a lack of a clear distinction between ?processing? versus ?perceptual? areas in the brain, but rather that the areas involved in the processing of a specific visual attribute are also part of the neuronal network that is collectively responsible for its perceptual representation. (shrink)

The goal of this study is to characterize observers’ abilities to detect gradual changes and to explore putative dissociations between conscious experience of change and behavioral adaptation to a changing stimulus. We developed a new experimental paradigm in which, on each trial, participants were shown a dot pattern on the screen. Next, the pattern disappeared and participants had to reproduce it. In some conditions, the target pattern was incrementally rotated over successive trials and participants were either informed or not of (...) this change. We analyzed both awareness of the changes and the dynamics of behavioral adaptation, in a way that makes it possible to assess both variability and accuracy as they change over time. Results indicate a dissociation between change awareness and behavioral adaptation to the changes, and support the notion that unconscious representations of visual stimuli are more precise and detailed than previously suggested. We discuss the implications of these results for theories of change detection. (shrink)

Research over the past half century has produced extensive evidence that observers cannot report or retain all of the details of their visual world from one moment to the next. During the past decade, a new set of studies has illustrated just how pervasive these limits are. For example, early evidence for the failure to detect changes to simple dot patterns (Phillips, 1974) and arrays of letters (Pashler, 1988) generalizes to more naturalistic displays such as photographs and motion pictures (...) (e.g., Levin & Simons, 1997; Rensink, O’Regan, & Clark, 1997; see Rensink, 2002 for a recent review). This failure to report changes (change blindness) can be induced in both simple and naturalistic displays, whenever the change co-occurs with a visual disruption such as an eye movement (Currie, McConkie, Carlson-Radvansky, & Irwin, 1995; Hollingworth, Schrock, & Henderson, 2001), image shift (Blackmore, Brelstaff, Nelson, & Troscianko, 1995), flashed blank screen (Rensink et al., 1997), blink (O’Regan, Deubel, Clark, & Rensink, 2000), transient (O’Regan, Rensink, & Clark, 1999; Rensink, O’Regan, & Clark, 2000), movie cut or pan (Levin & Simons, 1997; Simons, 1996), or an occlusion event (Levin, Simons, Angelone, & Chabris, 2002; Simons & Levin, 1998). Change blindness can also occur in the absence of a disruption, provided the change occurs gradually enough that it does not attract attention (Simons, Franconeri, & Reimer, 2000). -/- Failures of visual awareness have been induced in a number of ways. For example, observers often fail to report a visible but unexpected stimulus when attention is focused on some other object or event in the display (inattentional blindness). As for change blindness, inattentional blindness occurs for both simple (Mack & Rock, 1998; Most et al., 2001) and naturalistic stimuli (Simons & Chabris, 1999). Similarly, repeated instances of an item often go undetected when embedded in a rapid sequence (repetition blindness), a phenomenon that occurs for both words and pictures (Kanwisher, 1987; Kanwisher & Potter, 1990). Observers can also fail to detect a stimulus in a rapid stream of stimuli provided they had to perform an attention-demanding task shortly before the stimulus appeared (Shapiro, Arnell, & Raymond, 1997). The surprisingly large variety of conditions that induce failures of conscious perception reinforces the broad conclusion that we are often unaware of what would otherwise be fully-visible stimuli. -/- Along with an increased appreciation of the limitations of visual awareness has come a renewed interest in using these limitations to explore the nature of the representations and processes underlying our visual experience. Are these limitations due to failures of perception? Of attention? Of memory? What is preserved with and without awareness? -/- The papers in this special issue of the Journal of Vision provide examples of exciting new work on induced failures of visual awareness and the mechanisms that underlie them. For example, several papers examine whether observers are drawn to parts of a display by the stimulus features or whether top-down control or semantic comprehension influence search through a display. Others investigate the nature of and limits on the information that is preserved from one view to the next and how much information needs to be retained for effective perception and action. As guest editors, we hope that this special issue will illustrate how studying the relationship between visual awareness and visual representations can lead to important new insights into the nature of seeing. (shrink)

Dysfunctional body- and shape-related attentional biases are involved in the aetiology and maintenance of eating disorders (ED). Various studies suggest that women, particularly those with ED diagnoses, focus on negatively evaluated parts of their own body, which leads to an increase in body dissatisfaction. The present study aims to empirically test the hypothesis that non-ED women show an attentional bias towards negative body parts, and that the focus on positive and negative parts of one’s own body can be modified by (...) attentional bias modification training based on a dot-probe task. Although several studies have measured body-related attentional biases by using pictures of participants’ own bodies, the approach of investigating attentional bias via a dot-probe task while presenting pictures of the participants’ own body parts and modifying the biased attention using such pictures is novel. Women (n = 60) rank-ordered ten parts of their own body regarding their attractiveness. To examine and modify the attentional focus, pictures of the self-defined positive and negative parts of one’s own body were presented by means of a dot-probe task. A paired-sample t-test revealed no difference between reaction times to negative compared to positive body parts, indicating no attentional bias towards negative parts of one’s own body. A two-way ANOVA revealed a main effect of time for pictures of positive and negative parts of one’s own body, with a decrease in reaction times from pre- to post-training. However, there was no significant interaction between time and training condition concerning reaction times to positive and negative body parts. Our findings replicate previous evidence of a balanced attentional pattern regarding one’s own body in women without ED diagnoses. However, the dot-probe task failed to modify the attentional focus. As the modifiability of state body image increases with more pronounced body dissatisfaction, the next step would be to test this approach in clinical samples of women with ED diagnoses. (shrink)

How the new conspiracists are undermining democracy—and what can be done about it Conspiracy theories are as old as politics. But conspiracists today have introduced something new—conspiracy without theory. And the new conspiracism has moved from the fringes to the heart of government with the election of Donald Trump. In A Lot of People Are Saying, Russell Muirhead and Nancy Rosenblum show how the new conspiracism differs from classic conspiracy theory, why so few officials speak truth to conspiracy, and what (...) needs to be done to resist it. Classic conspiracy theory insists that things are not what they seem and gathers evidence—especially facts ominously withheld by official sources—to tease out secret machinations. The new conspiracism is different. There is no demand for evidence, no dots revealed to form a pattern, no close examination of shadowy plotters. Dispensing with the burden of explanation, the new conspiracism imposes its own reality through repetition and bare assertion. The new conspiracism targets democratic foundations—political parties and knowledge-producing institutions. It makes it more difficult to argue, persuade, negotiate, compromise, and even to disagree. Ultimately, it delegitimates democracy. Filled with vivid examples, A Lot of People Are Saying diagnoses a defining and disorienting feature of today's politics and offers a guide to responding to the threat. (shrink)

With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form. (...) Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

The cognitive science of religion is a rapidly growing field whose practitioners apply insights from advances in cognitive science in order to provide a better understanding of religious impulses, beliefs, and behaviors. In this book Ilkka Pyysiäinen shows how this methodology can profitably be used in the comparative study of beliefs about superhuman agents. He begins by developing a theoretical outline of the basic, modular architecture of the human mind and especially the human capacity to understand agency. He then goes (...) on to discuss examples of supernatural agency in detail, arguing that the human ability to attribute beliefs and desires to others forms the basis of conceptions of supernatural agents and of such social cognition in which supernatural agents are postulated as interested parties in social life. Beliefs about supernatural agency are natural, says Pyysiäinen, in the sense that such concepts are used in an intuitive and automatic fashion. Two dots and a straight line below them automatically trigger the idea of a face, for example. Given that the mind consists of a host of such modular mechanisms, certain kinds of beliefs will always have a selective advantage over others.theological concepts are usually elaborate versions of such simpler and more contagious folk conceptions. Pyysiäinen uses ethnographical and survey materials as well as doctrinal treatises to show that there are certain recurrent patterns in beliefs about supernatural agents both at the level of folk-religion and of formal theology. (shrink)

What is the relationship between complexity in the world and complexity in the mind? Intuitively, increasingly complex objects and events should give rise to increasingly complex mental representations (or perhaps a plateau in complexity after a certain point). However, a counterintuitive possibility with roots in information theory is an inverted U-shaped relationship between the “objective” complexity of some stimulus and the complexity of its mental representation, because excessively complex patterns might be characterized by surprisingly short computational descriptions (e.g., if (...) they are represented as having been generated “randomly”). Here, we demonstrate that this is the case, using a novel approach that takes the notion of “description” literally. Subjects saw static and dynamic visual stimuli whose objective complexity could be carefully manipulated, and they described these stimuli in their own words by giving freeform spoken descriptions of them. Across three experiments totaling over 10,000 speech clips, spoken descriptions of shapes (Experiment 1), dot-arrays (Experiment 2), and dynamic motion-paths (Experiment 3) revealed a striking quadratic relationship between the raw complexity of these stimuli and the length of their spoken descriptions. In other words, the simplest and most complex stimuli received the shortest descriptions, while those stimuli with a “medium” degree of complexity received the longest descriptions. Follow-up analyses explored the particular words used by subjects, allowing us to further explore how such stimuli were represented. We suggest that the mind engages in a kind of lossy compression for overly complex stimuli, and we discuss the utility of such freeform responses for exploring foundational questions about mental representation. (shrink)

We present a model of similarity‐based retrieval that attempts to capture three seemingly contradictory psychological phenomena: (a) structural commonalities are weighed more heavily than surface commonalities in similarity judgments for items in working memory; (b) in retrieval, superficial similarity is more important than structural similarity; and yet (c) purely structural (analogical) remindings e sometimes experienced. Our model, MAC/FAC, explains these phenomena in terms of a two‐stage process. The first stage uses a computationally cheap, non‐structural matcher to filter candidate long‐term memory (...) items. It uses content vectors, a redundant encoding of structured representations whose dot product estimates how well the corresponding structural representations will match. The second stage uses SME (structure‐mapping engine) to compute structural matches on the handful of items found by the first stage. We show the utility of the MAC/FAC model through a series of computational experiments: (a) We demonstrate that MAC/FAC can model patterns of access found in psychological data; (b) we argue via sensitivity analyses that these simulation results rely on the theory; and (c) we compare the performance of MAC/FAC with ARCS, an alternate model of similarity‐based retrieval, and demonstrate that MAC/FAC explains the data better than ARCS. Finally, we discuss limitations and possible extensions of the model, relationships with other recent retrieval models, and place MAC/FAC in the context of other recent work on the nature of similarity. (shrink)

Self-motion through space generates a visual pattern called optic flow. It can be used to determine one’s direction of self-motion (heading). Previous studies have already shown thatthis perceptual ability, which is of critical importance during everyday life, changes with age. In most of these studies subjects were asked to judge whether they appeared to be heading to the left or right of a target. Thresholds were found to increase continuously with age. In our current study, we were interested in absolute (...) rather than relative heading judgements and in the question about a potential neural correlate of an age-related deterioration of heading perception. Two groups, older test subjects and younger controls, were shown optic flow stimuli in a virtual-reality setup. Visual stimuli simulated self-motion through a 3-D cloud of dots and subjects had to indicate their perceived heading direction after each trial. In different subsets of experiments we varied individuallyrelevant stimulus parameters: presentation time, number of dots in the display, stereoscopic vs. non-stereoscopic stimulation, and motion coherence. We found decrements in heading performance with agefor each stimulus parameter. In a final step we aimed to determine a putative neural basis of this behavioural decline. To this end we modified a neural network model which previously has proven to be capable of reproduce and predict certain aspects of heading perception. We show that the observed data can be modeled by implementing an age related neuronal cell loss in this neural network. We conclude that a continuous decline of certain aspects of motion perception, among them heading, might directly be based on anage-related progressive loss of groups of neurons being activated by visual motion. (shrink)

There exists a venerable tradition of interdisciplinary research into the origins and development of Paleolithic cave painting. In recent years this research has begun to be inflected by rapid advances in measurement techniques that are delivering chronological data with unprecedented accuracy. Patterns are emerging from the accumulating evidence whose precise interpretation demands corresponding advances in theory. It seems that cave painting went through several transitions, beginning with the creation of simple lines, dots and disks, followed by hand stencils, then (...) by outlined figures, and finally by naturalistic figures. So far the most systematic evidence comes from Europe, although there are also indications that this sequence could be a universal pattern. The shamanic hypothesis provides a useful theoretical starting point because of its emphasis on the role of performance and phenomenology in the creative process. However, it still tends to reduce this sequence to mere stylistic and thematic changes that were external products of an already fully formed modern mind. Here I show how key insights from semiotics and material engagement theory can advance this explanatory framework to the extent that we become able to postdict the major transitions in the chronology of Paleolithic cave painting. An intriguing implication is that this is at the same time a chronology of cognitive changes, namely from a performative-phenomenological to a reflective-representational mind. (shrink)

Color charts, or grids of evenly spaced multicolored dots or squares, appear in the work of modern artists and designers. Often the artist/designer distributes the many colors in a way that could be described as “random,” that is, without an obvious pattern. We conduct a statistical analysis of 125 “random-looking” art and design color charts and show that they differ significantly from truly random color charts in the average distance between adjacent colors. We argue that this attribute generalizes results in (...) subjective randomness in a black/white setting and gives further evidence supporting a connection between subjective randomness and what is esthetically pleasing. (shrink)

ABSTRACTWith a series of three studies, using an adapted dot-probe paradigm, we investigated the elicitation of spontaneous affective meaning. Although it is well established that humans show delays in disengaging their attention from conventional affective stimuli, it is unknown whether contextually acquired affective meaning similarly impacts attention. We examined attentional disengagement following pairs of neutral or slightly ambiguous words that in combination could evoke sex, violence or neutral associations. Study 1 demonstrated slower disengagement following words that conveyed sex or violence (...) associations compared to words that conveyed neutral associations. This pattern was only present for participants who were aware of sex or violence associations. Study 2 replicated these results in a large sample, but only for sex associations. Study 3 replicated the effect while instructing participants explicitly to expect sex and violence associations. Finally, two control studies countered reasonable alternative explanations for our findings. Together, these studies show that contextually driven affective associations can arise quickly with the potential to influence attentional processes. These findings are consistent with theoretical models of emotion and language that highlight the importance of context in the generation of affective meaning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 12-22 [Access article in PDF] Art of a Child with Autism:Drawing Systems and Proto Mathematics Julia Kellman Sung, a five year old girl with autism, was enrolled by her mother in the university Saturday art program with the hope that Sung's favorite church school teacher, a graduate student in art education, would be able to tutor her daughter during the weekly classes. (...) Though hesitant because of her inexperience with autistic children and because of Sung's frequently angry tantrums on Sundays and the little girl's inability to speak, the young teacher, nonetheless, agreed to the plan. Her concerns proved unfounded, for Sung was able to work in the midst of the churning mass of noisy pre-K classmates without any signs of the fury that drove her to screaming, biting fits in church school. Additionally, and to everyone's delight, Sung's ability to develop as an image-maker was itself confirmed within the first few weeks of art class, dispelling any remaining doubts of her art aptitude or the value of art classes for the little girl.Additional questions and considerations arose about Sung and her art during the classes. How might one understand Sung's changing imagery? What might such explanations and images suggest about Sung herself and her activities? What might her art indicate about her similarity to other children and their art making? The possible answers to these and related queriespresented themselves during the semester, suggesting new avenues for inquiry surrounding both the wordless little girl and her Saturday morning creations.What follows is the story of Sung and her graphic development as it unfolded during the art class. Further, it is an attempt to uncover what Sung's drawings suggest about methods that are useful in the examination of the art of an autistic child. Documentation was carried out with a 35 mm. camera and color copier throughout the semester. Ethnographic methods including participant observation and interviews were employed to gather contextual data. Alfred Schutz's phenomenological sociology allowed for [End Page 12] consideration of nonverbal and verbal social interactions and behaviors. 1 A search of the literature of early mathematical development and drawing systems provided the underpinnings for early insights and later hypotheses. Here is Sung's story. Sung Sung, thick black hair swung forward to hide her face, lies prone in the middle of the busy classroom oblivious to the surging, chattering children around her, so intent is she on the sketchbook in which she draws. Next to her left elbow teeters a stack of a half dozen boxes of thick craypas from which she snatches colors, never looking at the hue she grabs. Her drawing behavior has a pattern; it looks like this. Shuffle through the identical boxes. Choose a box. Open it. Snatch out a bright waxy craypa. Hold it close to the eyes. Sniff it. Lick it. If the craypa passes muster, scribble with it in rich heavy lines — banana-like arcs, large solid dots the size of cherries, rectangular patches, and a variety of forms that come and go from one drawing to the next, like heat lightening on a summer evening. Her less frequent forms include: an enclosed yellow irregular shape with a dark dot in the middle suggesting a fried egg; a two-sided zig-zag; X forms; and solid and empty trapezoids made sail-like with superimposed crosses serving as mast and boom.Unlike the chosen craypas, however, those that do not pass Sung's inspection suffer a terrible fate; they are broken in two and their pieces tossed without ceremony to opposite sides of the room to be trodden into flat, bright smears by the other children in the class, pathetic traces of Sung's art. The craypas boxes themselves also play a role. For when they are closed they are used as blocks or toys, objects to be neatly stacked and restacked or placed side by side on the floor. When they are open, however, they are mere receptacles, passively holding... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 12-22 [Access article in PDF] Art of a Child with Autism:Drawing Systems and Proto Mathematics Julia Kellman Sung, a five year old girl with autism, was enrolled by her mother in the university Saturday art program with the hope that Sung's favorite church school teacher, a graduate student in art education, would be able to tutor her daughter during the weekly classes. (...) Though hesitant because of her inexperience with autistic children and because of Sung's frequently angry tantrums on Sundays and the little girl's inability to speak, the young teacher, nonetheless, agreed to the plan. Her concerns proved unfounded, for Sung was able to work in the midst of the churning mass of noisy pre-K classmates without any signs of the fury that drove her to screaming, biting fits in church school. Additionally, and to everyone's delight, Sung's ability to develop as an image-maker was itself confirmed within the first few weeks of art class, dispelling any remaining doubts of her art aptitude or the value of art classes for the little girl.Additional questions and considerations arose about Sung and her art during the classes. How might one understand Sung's changing imagery? What might such explanations and images suggest about Sung herself and her activities? What might her art indicate about her similarity to other children and their art making? The possible answers to these and related queriespresented themselves during the semester, suggesting new avenues for inquiry surrounding both the wordless little girl and her Saturday morning creations.What follows is the story of Sung and her graphic development as it unfolded during the art class. Further, it is an attempt to uncover what Sung's drawings suggest about methods that are useful in the examination of the art of an autistic child. Documentation was carried out with a 35 mm. camera and color copier throughout the semester. Ethnographic methods including participant observation and interviews were employed to gather contextual data. Alfred Schutz's phenomenological sociology allowed for [End Page 12] consideration of nonverbal and verbal social interactions and behaviors. 1 A search of the literature of early mathematical development and drawing systems provided the underpinnings for early insights and later hypotheses. Here is Sung's story. Sung Sung, thick black hair swung forward to hide her face, lies prone in the middle of the busy classroom oblivious to the surging, chattering children around her, so intent is she on the sketchbook in which she draws. Next to her left elbow teeters a stack of a half dozen boxes of thick craypas from which she snatches colors, never looking at the hue she grabs. Her drawing behavior has a pattern; it looks like this. Shuffle through the identical boxes. Choose a box. Open it. Snatch out a bright waxy craypa. Hold it close to the eyes. Sniff it. Lick it. If the craypa passes muster, scribble with it in rich heavy lines — banana-like arcs, large solid dots the size of cherries, rectangular patches, and a variety of forms that come and go from one drawing to the next, like heat lightening on a summer evening. Her less frequent forms include: an enclosed yellow irregular shape with a dark dot in the middle suggesting a fried egg; a two-sided zig-zag; X forms; and solid and empty trapezoids made sail-like with superimposed crosses serving as mast and boom.Unlike the chosen craypas, however, those that do not pass Sung's inspection suffer a terrible fate; they are broken in two and their pieces tossed without ceremony to opposite sides of the room to be trodden into flat, bright smears by the other children in the class, pathetic traces of Sung's art. The craypas boxes themselves also play a role. For when they are closed they are used as blocks or toys, objects to be neatly stacked and restacked or placed side by side on the floor. When they are open, however, they are mere receptacles, passively holding... (shrink)

The Paleolithic art interpretation is still a polemical subject. Nearly 300 caves covered with Paleolithic paintings have been discovered and more than 90% are located in Spain and in France. Surprisingly, more than half the painted illustrations are abstract patterns such as dots and lines. The high realism of naturalist figures also stands out. We will present the four groups of theories that have been formulated since the end of the XIXth century in order to interpret the Paleolithic art: (...) the artistic theory from Lartet and Piette; the magical hunting theory from anthropologists such as Tylor and Frazer and archeologists like Breuil; the structuralist theory from Raphael, Leroi- Gourhan and Laming-Emperaire; and lastly the shamanist theory from Lewis-Williams and Clottes. We will also refer to the agglutinative theory gathering all of these from Ucko and Rosefeld. Afterwards I will offer my own thought. Paleolithic paintings are the expression the life led by every generation of the clan. The panels or the set of animals as much as the painted signs are their own History collection. (shrink)

Patients with apraxia perform poorly when demonstrating how an object is used, particularly when pantomiming the action. However, these patients are able to accurately identify, and to pick up and move objects, demonstrating intact ventral and dorsal stream visuomotor processing. Appropriate object manipulation for skilled use is thought to rely on integration of known and visible object properties associated with ‘ventro-dorsal’ stream neural processes. In apraxia, it has been suggested that stored object knowledge from the ventral stream may be less (...) readily available to incorporate into the action plan, leading to an over-reliance on the objects’ visual affordances in object-directed motor behaviour. The current study examined grasping performance in left hemisphere stroke patients with (N = 3) and without (N = 9) apraxia, and in age-matched healthy control participants (N = 14), where participants repeatedly grasped novel cylindrical objects of varying weight distribution. Across two conditions, object weight distribution was indicated by either a memory-associated cue (object colour) or visual-spatial cue (visible dot over the weighted end). Participants were required to incorporate object-weight associations to effectively grasp and balance each object. Control groups appropriately adjusted their grasp according to each object’s weight distribution across each condition, whereas throughout the task two of the three apraxic patients performed poorly on both the memory-associated and visual-spatial cue conditions. A third apraxic patient seemed to compensate for these difficulties but still performed differently to control groups. Patients with apraxia performed normally on the neutral control condition when grasping the evenly weighted version. The pattern of behaviour in apraxic patients suggests impaired integration of visible and known object properties attributed to the ventro-dorsal stream: in learning to grasp the weighted object accurately, apraxic patients applied neither pure knowledge-based information (the memory-associated condition) nor higher-level information given in the visual-spatial cue condition. Disruption to ventro-dorsal stream predicts that apraxic patients will have difficulty learning to manipulate new objects on the basis of information other than low-level visual cues such as shape and size. (shrink)

Imagine a very fi ne grid or graph on which dots are placed at various coordinates so that, as a consequence, this or that shape materializes there. Depending on the coordinates of the dots, different shapes will appear, and for every shape there will be a pattern in the coordinates that guarantees its appearance. Take, for example, the diagonal line that slopes rightward and upward at an angle of 45 degrees from the origin. This line is bound to make an (...) appearance so long as the coordinates satisfy the condition or pattern that as they move away from the origin, (0,0), the coordinates are progressively larger pairs of equal numbers: (1,1), (3,3), and so on. In the world of such dots and shapes, it is going to be in principle possible, for any array of dots that realizes a relevant shape, to derive the presence of the shape from the numerical coordinates of the dots. More particularly, it is going to be possible to derive that shape without reliance on anything other than, fi rst, the empirical fact that the given array of coordinates instantiates this or that pattern; and second, the a priori knowable fact that the pattern guarantees the presence of the shape in question. The nature of the shapes on any grid—if indeed there are any relevant shapes present—is going to be a priori derivable from the positions of the dots; it is going to be possible in principle to derive the one from the other. The simplest and most appealing version of physicalism parallels this sort of doctrine about dots and shapes (Pettit 1994, 1995). It holds that just as the positions of the dots determine the nature of the shapes a priori, so the way the natural world is physically organized a priori determines the way it presents itself in psychological and other terms. The way things are physically confi gured entails the presence of psychological and other realities, and it does this without reliance on anything other than what a.. (shrink)

Imagine this scene from the future. You are staring at a screen flickering with snow. Scientists have hidden one of two patterns in the dots, and eventually you spot one. But you don't have to tell the scientists what you are seeing; they already know. They are looking at the electrical signals from one of the billions of cells in your brain. When the cell fires, you see one pattern; when it stops, you see another‹your awareness can be read (...) from a single neuron. Now, in an even more unsettling trick, they send an electrical current to the neurons in that part of your brain and, with a push of a button, make you see one pattern or the other. (shrink)

ObjectivesA sample of women with persistent distress following breast cancer previously exhibited attentional bias away from supraliminally presented cancer-or threat-related information, responses consistent with avoidance coping, and showed negative interpretation bias. Here, we attempt to characterize the nature of supraliminal AB and interpretation bias in that sample of women by comparing against healthy controls.MethodsExtending our previous work, we compared AB patterns for supraliminally presented negatively valenced words and cancer-related information assessed by modified dot-probe tasks and negative interpretation bias assessed (...) by an ambiguous cue task between 140 BC women previously identified as featuring low-stable or persistent high anxiety and 150 age-matched non-BC healthy controls having HADS-defined low or high anxiety.ResultsAttentional avoidance of non-cancer-related negatively valenced words was seen among the anxious BC group, while heightened attention toward such words was seen in anxious healthy controls, F = 3.97, p = 0.009. However, all anxious women in both BC and healthy groups directed attention away from CRI under supraliminal conditions. Interpretation bias scores were significantly higher in BC women with high anxiety vs. healthy controls with high anxiety, F = 13.26, p < 0.001.ConclusionWomen with high anxiety generalized conscious attentional avoidance responses to negatively valenced stimuli, indicating a likely hypersensitivity to potential threat in ambiguous cues and exaggerated threat perception. This may cause maladaptive emotional regulation. Attention focus training, reducing threat salience or modifying threat appraisal, may help women alleviate anxiety levels after BC. (shrink)

Informed by theories of embodied cognition, in the present study, we designed a novel priming technique to investigate the impact of spatial diversity and script direction on searching through concepts in both English and Persian (i.e., two languages with opposite script directions). First, participants connected a target dot either to one other dot (linear condition) or to multiple other dots (diverse condition) and either from left to right (rightward condition) or from right to left (leftward condition) on a computer touchscreen (...) using their dominant hand's forefinger. Following the spatial prime, they were asked to generate as many words as possible using two‐letter cues (e.g., “lo” → “love,” “lobster”) in 20 s. We hypothesized that greater spatial diversity, and consistency with script direction, should facilitate conceptual search and result in a higher number of word productions. In both languages, word production performance was superior for the diverse prime relative to the linear prime, suggesting that searching through lexical memory is facilitated by spatial diversity. Although some effects were observed for the directionality of the spatial prime, they were not consistent across experiments and did not correlate with script direction. This pattern of results suggests that a spatial prime that promotes diverse paths can improve word retrieval from lexical memory and lends empirical support to the embodied cognition framework, in which spatial relations play a crucial role in the conceptual system. (shrink)

Beyond reveals evidence of three of the most sought after universal and human mysteries - the origin of the universe, the location of God's spiritual dimension, and the origin of human consciousness. Beyond unveils a highly syntactic, pragmatic paradigm, a universal, interconnecting system that places access to all pre-existing potential knowledge in the possession of humanity. Dr. Sprock reveals these three discoveries as the Occam's razor (Scientific principle: All things being equal, the simplest explanation tends to be the correct one) (...) of explanations of how the universe was created, the location of God's spiritual dimension, and the origin of human consciousness. This new knowledge takes humanity to its final destination. We can now tap into the universal vault of information that is coded into the universal frequencies within the fabric of the universe that have their origin in the infinite, spiritual dimension of God consciousness. How the systems of the universe function are brought to Earth level and are explained as to how they work in everyday living situations. The emotional burden carried by humans, due to lack of understanding, of why situations and circumstances occur are lifted, freeing you to focus on your life without emotional upheavals that distract you from your destiny's path. Beneficiaries are empowered to choose anew rather than continually recall and repeat undesired patterns of resistance-attraction and self-sabotage. This knowledge will bring greater joy and prosperity into your life. All the dots of modern science and ancient scripture have been connected. The code has been cracked and now will shift the perception human consciousness has of reality, forever. This is a huge game changer for the consciousness of humankind. Once this knowledge is introduced, accepted, and then applied to your daily routines, you will receive the boost needed to surge beyond your 10-12% brain usage at this point in your history. The Bose-Einstein Condensation is in direct concurrence with Dr. Sprock's location of God consciousness; the wave/frequency aspect of Nature yields the mental/consciousness; the particle/matter aspect of Nature yields the material. Dr. Sprock applies this phenomenon to the God consciousness/human consciousness connection. Dr. Sprock takes the Condensate a step further and explains the location of God consciousness existing in a spiritual, infinite dimension that spatially extended Spiritual DNA consciousness through frequency (Wave), which then vibrated to form density particles (Matter), creating the three dimensions of the physical universe and the origin of human consciousness. The frequencies carry the codes of God consciousness to human consciousness via the physical brain and the subconscious mind hologram. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Dana Sonnenschein 495 Dana Sonnenschein A History of Lace Textile Research Centre, Leiden, NL Lace is the creation of a series of holes to form a design. Categorized as looping, interlacing, circular in definition and sometimes in the making. In Europe, in the late Middle Ages, women began filling in cutwork or drawn threads with nets of stars and flowers in (...) colored silks and silver-gilt. Needle lace is like embroidery in the air. * Later, bobbin lace. Mathematical, precise. Each bobbin a wooden handle like a flower bulb sending up a stalk ending in a spool instead of petals. Lace was brought to Zurich from Italy in about 1536. The whole history of lace-making is women. Men sold it and made the profit. * 496 Dana Sonnenschein Afloat on a round, midnight-blue velvet pillow, a half-finished lace collar, one side a ring of flowers radiating thread to a couple dozen bobbins around the rim, the other side dots and dashes on sky-blue paper— An old lace-maker has died, and her family has given her things to the research center. * Has anyone here made lace before? Once, Eefe says, her forearms crossing back and forth like a girl slowly twirling jump-ropes for Double Dutch. She smiles at the memory, shakes her head, afraid to touch the wooden handles now. Lace is the history of women, a series of holes that make a design. * Leaning in, I remember my grandmother’s eyes blurred behind glasses and wonder how this old woman did such fine work. Perhaps someone else set the pins, and she read them with her fingertips, whispering the Dutch words for anemone, meadow-flax, tulips, humming a bobbin tell, a song to remind her what to do with her hands, another kind of dance in another kind of Netherland. Dana Sonnenschein 497 Or perhaps she stopped making lace when memory grew clearer than sight but kept this cushion as a place she could still touch her past though the blooms lie flat and pale. * Irish lace is three-dimensional— a corner garden of cornflowers displayed near rows of fine Belgian trim arched like church windows— so many hours, panes, blooms, tendrils, we are speechless and so is the teacher. She calls Marika out of the office— You make lace, explain. * She shows us her tiny circlet of blue Torchon. I touch two loose threads, ask if that’s where she began. And finished, she says; It is hard to make the connection. Lace is the history of women. You always have a pattern, Marika says. Honiton lace is strict, every pin mapped out. With Belgian, you can be more free, fill in a shape with fantasy—I like this kind. You can move from this bloom to that leaf or fern spiral next with a little bridge called a bride. 498 Dana Sonnenschein She points to a zigzag. Fan here. We stare at the mark, mystified. You are always working with only four; it’s very logical, she says. Eefe adds, The threads and bobbins will show you the way. What’s missing is the knowledge of when to pass over or under when you want a rose or lily. Marika’s grandmother taught her lace thirty years ago. She’s learning again now. It’s nice to do. But you need a teacher. It’s a complicated subject. She makes a few passes with pairs of bobbins then undoes her work, looks up, smiles. She doesn’t know how to say what she means in English and might not say more in Dutch. Even when it’s on the table in front of us, lace is what’s missing, the art of making something of absences, of what is felt more than known, the history of women. There is no grandmother among us. Note The italicized passages in the first two sections and the query about whether anyone has made lace are drawn from my notes on Dr. Gillian Vogelsang-Eastwood ’s lecture during the Intensive Textile Course, September 19–23, 2016. Dana Sonnenschein 499 The Great Chain of Being is one loop pulled through another in... (shrink)

Representations of the fingers are embodied in our cognition and influence performance in enumeration tasks. Among deaf signers, the fingers also serve as a tool for communication in sign language. Previous studies in normal hearing (NH) participants showed effects of embodiment (i.e., embodied numerosity) on tactile enumeration using the fingers of one hand. In this research, we examined the influence of extensive visuo‐manual use on tactile enumeration among the deaf. We carried out four enumeration task experiments, using 1–5 stimuli, on (...) a profoundly deaf group (n = 16) and a matching NH group (n = 15): (a) tactile enumeration using one hand, (b) tactile enumeration using two hands, (c) visual enumeration of finger signs, and (d) visual enumeration of dots. In the tactile tasks, we found salient embodied effects in the deaf group compared to the NH group. In the visual enumeration of finger signs task, we controlled the meanings of the stimuli presentation type (e.g., finger‐counting habit, fingerspelled letters, both or neither). Interestingly, when comparing fingerspelled letters to neutrals (i.e., not letters or numerical finger‐counting signs), an inhibition pattern was observed among the deaf. The findings uncover the influence of rich visuo‐manual experiences and language on embodied representations. In addition, we propose that these influences can partially account for the lag in mathematical competencies in the deaf compared to NH peers. Lastly, we further discuss how our findings support a contemporary model for mental numerical representations and finger‐counting habits. (shrink)

This article describes new aspects of hysteresis dynamics which have been uncovered through computer experiments. There are several motivations to be interested in fast-slow dynamics. For instance, many physiological or biological systems display different time scales. The bursting oscillations which can be observed in neurons, β-cells of the pancreas and population dynamics are essentially studied via bifurcation theory and analysis of fast-slow systems (Keener and Sneyd, 1998; Rinzel, 1987). Hysteresis is a possible mechanism to generate bursting oscillations. A first part (...) of this article presents the computer techniques (the dotted-phase portrait, the bifurcation of the fast dynamics and the wave form) we have used to represent several patterns specific to hysteresis dynamics. This framework yields a natural generalization to the notion of bursting oscillations where, for instance, the active phase is chaotic and alternates with a quiescent phase. In a second part of the article, we emphasize the evolution to chaos which is often associated with bursting oscillations on the specific example of the Hindmarsh–Rose system. This evolution to chaos has already been studied with classical tools of dynamical systems but we give here numerical evidence on hysteresis dynamics and on some aspects of the wave form. The analytical proofs will be given elsewhere. (shrink)

This chapter contains sections titled: Formation of Materials Carbon Nanomaterials Inorganic Nanomaterials.