One of the fundamental issues in visual awareness is how we are able to perceive the scene in front of our eyes on time despite the delay in processing visual information. The prediction theory postulates that our visual system predicts the future to compensate for such delays. On the other hand, the postdiction theory postulates that our visual awareness is inevitably a delayed product. In the present study we used flash-lag paradigms in motion and color domains and examined how the (...) perception of visual information at the time of flash is influenced by prior and subsequent visual events. We found that both types of event additively influence the perception of the present visual image, suggesting that our visual awareness results from joint contribution of predictive and postdictive mechanisms. (shrink)

Tiyo Soga, the first black minister ordained in Scotland by the United Presbyterian Church of Scotland in 1856, was, by any standards, a conflicted character. He stood both in and between two worlds and suffered from the vulnerability that emerged from his dual allegiances. Yet he made a significant contribution to the mission history of South Africa, particularly through his early influence on the development of black consciousness and black nationalism, which were to make significant contributions to black thinking (...) in the 20th century. Soga's life and ministry are set in the context of Michael Ashley's concept of 'universes in collision'. (shrink)

This article offers a critical reflection of Lizal’isidinga laKho (hymn 116) and Wazidala iinto zonke (hymn 16) written by Tiyo Soga and recorded in the Methodist Church of Southern Africa (MCSA) hymnal book. From the perspective of black theology of liberation (BTL), I historicise and contextualise hymn 116 and hymn 16 to debunk the argument that Tiyo Soga was alien to the lives, experiences of suffering and pain of his people. The article posits that hymn 116 and hymn (...) 16 are black spirituals that articulate the contexts Soga found himself as a black person during the times of the frontier wars. Therefore, utilising blackness as a heuristic approach, I argue that the songs do not just historicise the experiences of black people in the times of the frontier wars, but they are prayers and/or laments from Soga that ask God to spare the lives, the culture, and value systems of black people in a world that seeks the destruction of their being, history, and culture. The songs emphasise the black struggle for justice and liberation encouraging black people never to succumb to the definitions given to them by those who seek the destruction of black personhood. The article locates Soga within the frontier wars to illustrate his own experiences as black person, then examines and presents Lizal’isidinga laKho, Wazidala iinto zonke as black spirituals born in a time of war to give hope to those who have been conquered and subjugated in the unjust wars of colonisation. Hymns 116 and 16 contribute to the decolonial turn discourse –unthinking of the west – because they emphasise the black struggle for liberation and justice.Contribution: The contribution of this article is its focus on the way in which the intersection of religious studies, social sciences, and humanities generates an interdisciplinary contested discourse. (shrink)

Red Riding Hood is a story that has been retold and reimagined more frequently than most. Where the oral tradition often celebrated Red's sexuality and cunning, literary versions transform the tale into one in which a young girl is blamed for her own rape – or, in many feminist versions, where she fights back. Drawing on discussions with writers and feminist activists in Uganda, and on work by Ugandan and Irish writers and scholars, I explore how this troubling and ambiguous (...) story can be used to facilitate communication across difference and culturally situated solidarities. I present a retelling of Red Riding Hood from an Irish perspective, using this as a springboard to explore parallels and disjunctures between Irish and Ugandan storytelling traditions and perspectives on women's rights and sexuality. I explore the potential of using this well-known European story to surface and contest dominant framings of women's rights, and as a contact point to enable dialogue between more peripheral European (Irish) and Ugandan (Kiganda and Soga) cultural traditions, facilitating mutual recognition, while remaining aware of and explicitly surfacing differences between these traditions. Telling and retelling ambiguous stories like Red Riding Hood can create space to consider where we come from and what we desire, and how those desires might be engaged through or might influence relationships of solidarity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Artist as Professional in JapanKazuyo Nakamura and Akio OkazakiThe Artist as Professional in Japan, edited by Melinda Takeuchi. Stanford, Calif.: Stanford University Press, 2004, 262pp., $45.00 cloth.With the increase of cross-cultural academic exchange in our time, more accurate information on art from other cultures has become more easily available, and curriculum development of art education directed toward multiculturalism has been brought to realization. There is need emerging (...) among art educators for academic resources for teaching cross-cultural subject matters, and The Artist as Professional in Japan provides historical information helpful in gaining a critical understanding of the nature of Japanese art discourse. The volume is edited from a fresh sociocultural perspective by Melinda Takeuchi, professor of Japanese art at Stanford University.Takeuchi, noticing that few scholarly books on the profession of Japanese artists are available to students of art history in the United States, set about the volume in concerted efforts with her colleagues. The volume consists of individual case studies on different Japanese artists; they are well-known sculptors, painters, potters, printmakers, and architects and are recognized in Japan as representative in different eras from the seventh to the twentieth century. Running through the individual studies, there is a concern for political forces that shaped art discourse and the identity of the Japanese artist. The following questions are asked: What degree of control did the artists exercise over their métier? What were some of the dynamics operating in the production, consummation, and evaluation of art and artist? How was the image of the artist formed during various periods? Working with these questions, seven case studies address issues of canon formation of art by looking into the terrain of the meaning of a critical word, Shoku-nin; it literally means people (nin) with an occupation (shoku) and denotes the collective artisan class.Different art historians and art theorists take a unique approach for developing each case study in the volume. Donald F. McCallum's study in chapter 2 is on the Buddhist Icons of the Shaka Triad during the Asuka Period (ca.590-ca.650), and it is asked what were the political forces working on the production of the [End Page 118] icons. In contrary to orthodox view, it is argued that the icons were produced not by an individual sculptor named Tori-busshi but by the guilds of which the supervisor was Tori. Also, it is argued that the icons were produced with the patronage of soga clan, the dominant political force of the time, not by the imperial family, including Shotoku Taishi.Karen L. Brock in chapter 3 examines the case of E'nichibo Jonin (active ca.1211-ca.1243), the painter of Saint Myoe. The case shows that the ateliers of temples, such as Kozanji in Kyoto, played a central role in producing and distributing sacred images. This study makes clear that few individual painters, such as those named ebusshi, participated in the formation of the canon of Japanese painting, but collective political forces, such as Kozanji ateliers, exercised power in bringing out sacred objects.In chapter 4 Melinda Takeuchi takes up the case of Tosa Mitsunobu (1434-ca.1523), an artisan painter active in Kyoto court circles. It shows a historical fact particular to Japanese art discourse—that later artists manipulated the names of earlier ones for professional or cultural merits. Taking notice of the fact that Mitsunobu's name late became synonymous with a production unit that shares secret techniques of products, Takeuchi concludes, "In the end, the name of an artist transcends time, space, materiality, and ultimately discourse itself" (101).The study of Louise Allison Cort in chapter 5 is on the case of Morita Kyuemon in the seventeenth century, a warrior trained as a potter and running the Odo pottery in the Tosa domain. By exploring the motivations of the Tosa domain in trying to transform local products into refined and stylish pottery worthy of formal presentation to other domain rulers (daimyo), to government officials, and to the shogun in Edo, this chapter demonstrates how both the potter and the ruler actively sought to join the aesthetic mainstream of their own day.In... (shrink)

The unprecedented cultural consciousness after decades of black cultural suppression in the South African public life since the 1990s summons us to the need to harness African ecclesiopolitical symbols in public life. This task is executed at a time when the notions of inter alia, spirituality and Imvuselelo are at the heart of the combustion chambers of our public and political life. Imvuselelo is a thermometer of decolonialist rebellion – the militant spirituality linked with Tiyo Soga – and is (...) a self-combustion escape route in instances of black African epistemicide and violence. The heuristic device of iziko is employed to illuminate and locate the reestablishment and anamnestic praxis of protological life-giving foundations of spirituality in the African universe in our interpretation of Imvuselelo. The notion of imvuselelo is illuminated through iziko to debunk the incompatibilities, disharmonies, incongruences and conflagrations of virtual spirituality in its capture and domestication of the resources of the downtrodden. (shrink)