A central debate in the philosophy of perception concerns the range of properties that can be represented in perceptual experience. Are the contents of perceptual experience restricted to ‘low-level’ properties such as location, shape and texture, or can ‘high-level’ properties such as being a tomato, being a pine tree or being a watch also be represented in perceptual experience? This paper explores the bearing of gist perception on the admissible contents debate, arguing that it provides qualified support for the (...) claim that certain kinds of high-level properties—such as being a natural scene —can be perceptually represented. (shrink)

In déjà vu, a novel experience feels strangely familiar. Here we propose that this phenomenology is best seen as consisting in an illusory feeling of identification of the gist of the current scene or event, rather than in the intensity of the fluency-based, metacognitive feeling of familiarity.

Eye movements were recorded during the display of two images of a real-world scene that were inspected to determine whether they were the same or not . In the displays where the pictures were different, one object had been changed, and this object was sometimes taken from another scene and was incongruent with the gist. The experiment established that incongruous objects attract eye fixations earlier than the congruous counterparts, but that this effect is not apparent until the (...) picture has been displayed for several seconds. By controlling the visual saliency of the objects the experiment eliminates the possibility that the incongruency effect is dependent upon the conspicuity of the changed objects. A model of scene perception is suggested whereby attention is unnecessary for the partial recognition of an object that delivers sufficient information about its visual characteristics for the viewer to know that the object is improbable in that particular scene, and in which full identification requires foveal inspection. (shrink)

Colour has been shown to facilitate the recognition of scene images, but only when these images contain natural scenes, for which colour is ‘diagnostic’. Here we investigate whether colour can also facilitate memory for scene images, and whether this would hold for natural scenes in particular. In the first experiment participants first studied a set of colour and greyscale natural and man-made scene images. Next, the same images were presented, randomly mixed with a different set. Participants were (...) asked to indicate whether they had seen the images during the study phase. Surprisingly, performance was better for greyscale than for coloured images, and this difference is due to the higher false alarm rate for both natural and man-made coloured scenes. We hypothesized that this increase in false alarm rate was due to a shift from scrutinizing details of the image to recognition of the gist of the image. A second experiment, utilizing images without a nameable gist, confirmed this hypothesis as participants now performed equally on greyscale and coloured images. In the final experiment we specifically targeted the more detail-based perception and recognition for greyscale images versus the more gist-based perception and recognition for coloured images with a change detection paradigm. The results show that changes to images are detected faster when image-pairs were presented in greyscale than in colour. This counterintuitive result held for both natural and man-made scenes and thus corroborates the shift from more detailed processing of images in greyscale to more gist-based processing of coloured images. (shrink)

Colour has been shown to facilitate the recognition of scene images, but only when these images contain natural scenes, for which colour is ‘diagnostic’. Here we investigate whether colour can also facilitate memory for scene images, and whether this would hold for natural scenes in particular. In the first experiment participants first studied a set of colour and greyscale natural and man-made scene images. Next, the same images were presented, randomly mixed with a different set. Participants were (...) asked to indicate whether they had seen the images during the study phase. Surprisingly, performance was better for greyscale than for coloured images, and this difference is due to the higher false alarm rate for both natural and man-made coloured scenes. We hypothesized that this increase in false alarm rate was due to a shift from scrutinizing details of the image to recognition of the gist of the image. A second experiment, utilizing images without a nameable gist, confirmed this hypothesis as participants now performed equally on greyscale and coloured images. In the final experiment we specifically targeted the more detail-based perception and recognition for greyscale images versus the more gist-based perception and recognition for coloured images with a change detection paradigm. The results show that changes to images are detected faster when image-pairs were presented in greyscale than in colour. This counterintuitive result held for both natural and man-made scenes and thus corroborates the shift from more detailed processing of images in greyscale to more gist-based processing of coloured images. (shrink)

Predictive processing models of perception take issue with standard models of perception as hierarchical bottom-up processing modulated by memory and attention. The predictive framework posits that the brain generates predictions about stimuli, which are matched to the incoming signal. Mismatches between predictions and the incoming signal – so-called prediction errors – are then used to generate new and better predictions until the prediction errors have been minimized, at which point a perception arises. Predictive models hold that all bottom-up processes are (...) signals conveying prediction errors to higher areas, which respond by updating their predictions. We take issue with this claim and argue that object recognition requires bottom-up processing that cannot be understood in terms of prediction errors. Along the way, we expand on previous work casting doubt on the framework's ability to account for attention. Specifically, we argue that the type of attention that allows us to rapidly extract the gist of an object or scene presents an additional challenge to the predictive approach. We conclude by considering how the framework may be augmented to avoid these problems. (shrink)

This chapter explores to what extent some core ideas of predictive processing can be applied to the phenomenology of time consciousness. The focus is on the experienced continuity of consciously perceived, temporally extended phenomena (such as enduring processes and successions of events). The main claim is that the hierarchy of representations posited by hierarchical predictive processing models can contribute to a deepened understanding of the continuity of consciousness. Computationally, such models show that sequences of events can be represented as states (...) of a hierarchy of dynamical systems. Phenomenologically, they suggest a more fine-grained analysis of the perceptual contents of the specious present, in terms of a hierarchy of temporal wholes. Visual perception of static scenes not only contains perceived objects and regions but also spatial gist; similarly, auditory perception of temporal sequences, such as melodies, involves not only perceiving individual notes but also slightly more abstract features (temporal gist), which have longer temporal durations (e.g., emotional character or rhythm). Further investigations into these elusive contents of conscious perception may be facilitated by findings regarding its neural underpinnings. Predictive processing models suggest that sensorimotor areas may influence these contents. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical (...) development, and that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Way to Ethical CultureThe Meaning of Art as Oscillating between the Other, Il y a, and the ThirdRossitsa Varadinova Borkowski (bio)Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him?Are we all (...) agreed that the chief merit of a poet consists in his accurate representation of the affairs of life? Can this be done by a mere driveller, unacquainted with the world?The excellence of a poet is not to be measured by the same standard as that of a mechanic or a blacksmith, where honor and virtue have nothing to do with our estimate. But the poet and the individual are connected, and he only can become a good poet who is in the first instance a worthy man.— Strabo, The Geography of StraboAfter Emmanuel Levinas showed the need for radically positing the Ethical as the original structure of human inwardness and as art is a fundamental aspect of being human, a reexamination of the meaning of the Artistic and its relation with the Ethical is necessary.1 Throughout [End Page 195] the history of Western thought and culture, the meaning of art has been regarded either as imitation of the world and nature (Plato and Aristotle), objective self-expression of the Absolute Spirit (Hegel) or Being (Heidegger), a subjective “free play of imagination” and judgment (Kant and the Romanticists), or as inevitable engagement with social issues and political position (the Marxists and Sartre). In spite of the variety of theories and views about the essence and value of art, it is unquestionable that the Artistic has transformational power over humans, which points to art’s connection with ethics. Therefore, following Levinas, instead of asking the general ontological questions about the gist of art “What is art?” or “Why is there art instead of something else?” we should seek an answer to the ethical question about the meaning of art: “How can the existence of art be justified?”The answers could be sought in two directions. The first already quite well beaten path explores Levinas’s own vision on art, which most critics find hesitant or even ambiguous.2 The impression of this hesitation is significant on the background of Levinas’s rigorous clarity about the Ethical. Overlooking this impression would lead to conclusions that would deviate our attention from the main question about how the existence of art can be justified. A possible explanation would be that Levinas’s seemingly fragmentary thoughts about art are woven into the fabric of his ultimate meta-ethical project — that is, his approach to art is instrumental, subjected to the Ethical. For example, commentators agree that Levinas’s early article “Reality and Its Shadow” (1948) is the only one exclusively focused on art and use it as a starting point to assemble the fragments of his aesthetic views into an aesthetic theory. Although this move might be justified methodologically, Levinas is clear that the discussion of art in this article is subordinated to the more general (and more serious) question about the nontruth of being (LR 132). Positing art as mythological and mystical, thus incapable of transmitting a meaningful message if separated from philosophical criticism (142), Levinas puts “in brackets” the discussion about the artistic and focuses on the reason qua knowledge (philosophy) and its relation with the Other. The impression of his hesitation about art’s [End Page 196] independent capability to dephase the instant, to breach the ontological gravity, and to expose the human spirit to the Ethical comes from those texts where Levinas applies his own vision about the integrative role of philosophical criticism — i.e., texts that work as philosophical criticism of art: “Transcendence through poetry — is this serious?”3 (PN 175n12), “if poetry can contain teachings” (165; emphasis added). Therefore, on one hand, Levinas exhaustively scrutinizes all possibilities of ethics of philosophy and comes to the clear position that in order for reason to function humanly it should be dethroned by the Other. He is... (shrink)

Understanding how people comprehend visual narratives (including picture stories, comics, and film) requires the combination of traditionally separate theories that span the initial sensory and perceptual processing of complex visual scenes, the perception of events over time, and comprehension of narratives. Existing piecemeal approaches fail to capture the interplay between these levels of processing. Here, we propose the Scene Perception & Event Comprehension Theory (SPECT), as applied to visual narratives, which distinguishes between front-end and back-end cognitive processes. Front-end processes (...) occur during single eye fixations and are comprised of attentional selection and information extraction. Back-end processes occur across multiple fixations and support the construction of event models, which reflect understanding of what is happening now in a narrative (stored in working memory) and over the course of the entire narrative (stored in long-term episodic memory). We describe relationships between front- and back-end processes, and medium-specific differences that likely produce variation in front-end and back-end processes across media (e.g., picture stories vs. film). We describe several novel research questions derived from SPECT that we have explored. By addressing these questions, we provide greater insight into how attention, information extraction, and event model processes are dynamically coordinated to perceive and understand complex naturalistic visual events in narratives and the real world. (shrink)

The Scenes of Inquiry advocates a radical shift of concern in philosophical, historical, and sociological studies of the sciences, from answers and doctrines to questions and problems, and explores the consequences of such a shift. Nicholas Jardine has expanded the book considerably for this paperback edition, adding a substantial preface, an extensive bibliography, and three new essays which develop the book's themes and pursue its aims further. 'Philosophers, historians, sociologists, and not least scientists, should read it' Times Higher Education Supplement.

Discourse, in general, and gist reasoning specifically, are valuable tools to explore cognitive brain health across the life span. Gist reasoning is a higher-order cognitive function that entails a constructive/integrative process in which explicit content of the stimuli is combined with personal knowledge to generate meaning that is transformed and personally salient. In this article, we discuss gist reasoning ability as a marker of cognitive brain health and its potential in differentiating normal cognitive brain health from brain (...) diseases. We highlight the benefits of gist reasoning training as an approach to strengthening cognitive health across the life span. (shrink)

The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author's basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the relief based on Panofsky's iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling (...) a horse's tail aims to enrich the analysis of the interpretation. Both the narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh, a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism. This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and globalizing. (shrink)

This book advocates a radical shift of concern in philosophical, historical, and sociological studies of the sciences, and explores the consequences of such a shift. The historically-oriented first part of the work deals with the ways in which ranges of questions become real and cease to be real for communities of inquirers. The more philosophically-oriented second part of the work introduces the notion of absolute reality of questions, and addresses doubt about the claims of the sciences to have accumulated absolutely (...) real questions. It is argued that recent studies in the sociology and social history of the science pose strong challenges to the sciences by revealing how appeals to authority, vested interests, and rhetorical and aesthetic sensibilities play substantial roles in the practices of the sciences. The final chapter defends the pragmatic stance of the work, and of its companion, The Fortunes of Inquiry, and draws morals about the roles of criticism and reflection in the philosophy of science and in the sciences themselves. (shrink)

Scene Perception is the visual perception of an environment as viewed by an observer at any given time. It includes not only the perception of individual objects, but also such things as their relative locations, and expectations about what other kinds of objects might be encountered. -/- Given that scene perception is so effortless for most observers, it might be thought of as something easy to understand. However, the amount of effort required by a process often bears little (...) relation to its underlying complexity. A closer look shows that scene perception is a highly complex activity, and that any account of it must deal with several difficult issues: What exactly is a scene? What aspects of it do we represent? And what are the processes involved? Finding the answers to these questions has proven to be extraordinarily difficult. (shrink)

BackgroundIt has been well investigated that nature exposure intervention can restore directed attention and improve subsequent cognitive performance. The impairment of decision-making skills in mentally fatigued soccer players was attributed to the inability of attention allocation. However, nature exposure as the potential intervention to counter mental fatigue and improve the subsequent decision-making skill in soccer players has never been investigated.ObjectsThis study aimed to evaluate the effects of nature exposure intervention on decision-making skills among mentally fatigued university soccer players. Moreover, different (...) durations of nature exposure were also evaluated.MethodsA random control between-subject design was adopted. Players were randomly assigned into six groups with three different durations of the experimental group compared with the corresponding control group. All players were first mentally fatigued by performing a 45-min Stroop task; then, they viewed virtual photos of natural or urban scenes; and finally, they performed a soccer decision-making task.ResultsThe subjective ratings of mental fatigue were significantly higher following the Stroop task. Only Exp 3 significantly improved decision-making reaction time compared with Con 3. Moreover, the accuracy slightly increased in Exp 3 after the intervention.ConclusionIn line with attention restoration theory, nature exposure significantly improved decision-making skills in mentally fatigue university players. However, the duration must be 12.50 min for each stimulus to stay longer to attract involuntary attention. (shrink)

One of the more powerful impressions created by vision is that of a coherent, richly-detailed world where everything is present simultaneously. Indeed, this impression is so compelling that we tend to ascribe these properties not only to the external world, but to our internal representations as well. But results from several recent experiments argue against this latter ascription. For example, changes in images of real-world scenes often go unnoticed when made during a saccade, flicker, blink, or movie cut. This "change (...) blindness" provides strong evidence against the idea that our brains contain a picture-like representation of the scene that is everywhere detailed and coherent. (shrink)

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different (...) agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity. (shrink)

Crime scene investigation is a form of Distributed Cognition. The principal concept we explore in this paper is that of `resource for action'. It is proposed that crime scene investigation employs four primary resources-for-action: the environment, or scene itself, which affords particular forms of search and object retrieval; the retrieved objects, which afford translation into evidence; the procedures that guide investigation, which both constrain the search activity and also provide opportunity for additional activity; the narratives that different (...) agents within the system produce to develop explanatory models and formal accounts of the crime. For each aspect of distributed cognition, we consider developments in technology that could support activity. (shrink)

Block shows that we can consciously see a scene without being able to identify all the individual items in it. But in itself this fails to drive a wedge between phenomenology and access. Once we distinguish scene phenomenology from item phenomenology, the link between phenomenology and access is restored.

We conducted two experiments using naturalistic scene stimuli to test the resource theory and mindlessness theory of sustained attention. In experiment 1, 28 participants completed a traditional formatted vigilance task consisting of non-repeating forest or urban picture stimuli as target stimuli. Participants filled out pre- and post-task assessments of arousal and conscious thoughts. There was still a vigilance decrement, despite non-repetitive, natural target stimuli. Participants found the task demanding and were actively engaged in the task. In experiment 2, 25 (...) participants completed a Sustained Attention to Response Task using the stimuli from experiment 1. Participants performed significantly worse on this SART than either brain injury patients or controls performing equivalent numeric stimuli SARTs have in previous studies. Participants thought the task was demanding and they were actively engaged with the task. Overall, the results of both studies support a resource theory of sustained attention lapses, not a mindlessness theory. (shrink)

The object of this study was to investigate whether level of processing (LOP) modulates enhanced memory performance for emotional stimuli, and, if so, whether the LOP effects relate to their gist and details. During the study phase, participants were presented with colourful pictures with negative, neutral and positive valences and encoded the emotional pictures under either a semantic (living/non-living judgement) or a perceptual (left/right position judgement) condition. During the test phase, they judged whether the presented picture was old or (...) new in Experiments 1 and 2, and also judged whether a specific concept, labelled using words, had been studied in Experiment 2. The results showed that under both encoding conditions, the details of both negative and positive pictures were recognised better than those of neutral pictures. Also, the gist of negative pictures was recognised better than that of neutral pictures but only under the semantic condition. These data provide evidence that the LOP differentially modulates enhanced emotional memory for gist and details of pictures. (shrink)

According to the "confrontation model," integrated history and philosophy of science operates like an empirical science. It tests philosophical accounts of science against historical case studies much like other sciences test theory against data. However, the confrontation model's critics object that historical facts can neither support generalizations nor genuinely test philosophical theories. Here I argue that most of the model's defects trace to its usual framing in terms of two problematic accounts of empirical inference: the hypothetico-deductive method and enumerative induction. (...) This framing can be taken to suggest an unprofitable one-off confrontation between particular historical facts and general philosophical theories. I outline more recent accounts of empirical inquiry, which describe an iterative back-and-forth movement between concrete empirical exemplars to their abstract descriptions. Reframed along similar lines, the confrontation model continues to offer both conceptual insight and practical guidance for a naturalized philosophy of science. (shrink)

Proposes a new theory of communication called "comparative media theory.".

Current guidelines and regulatory frameworks create a dilemma that threatens the effectiveness of much needed communication between patients and medical providers: How can patients be presented with detailed facts without creating cognitive “overload”? We explain how this is a false dichotomy and illustrate, using three examples, how fuzzy-trace theory offers a third way of informing patients.

En considérant la fabrique cinématographique comme une expérience politique et artistique, et un film terminé comme le lieu d’un regard singulier d’un·e cinéaste, cet article entend analyser le rapport au temps qu’entretiennent les acteurs·trices de la scène cinématographique au Liban depuis les trois dernières années. Du soulèvement de 2019 à l’année 2022, la relation au temps se caractérise par une incertitude constante qu’il convient d’explorer, avec d’une part les temporalités de la fragmentation liées au contexte du pays, et d’autre part, (...) les temporalités de la conception d’une œuvre. Comment est-ce que la temporalité de la création d’un film, souvent longue et difficile, s’imbrique-t-elle dans les multiples temporalités du pays faites d’une accumulation de crises? (shrink)

Contextual regularities, that is, objects’ tendency to appear with certain other objects, facilitate the processing of visual scenes and confer contextually incongruent objects with a special attentional status. This study was aimed at investigating the mechanisms underlying this attentional advantage using Binocular Rivalry . In two experiments, congruent and incongruent images were pitted against each other, yielding a version of BR in which two objects rival within a given scene. Incongruent objects predominated in awareness longer than congruent ones. This (...) effect stemmed from the fact that their dominance epochs lasted longer on the average than those of congruent objects, suggesting a difficulty to disengage attention from such objects. On the other hand, no support was found for the notion that incongruent objects also attract attention. (shrink)

In this contribution we will approach language and images in different modalities: speech and face, anticipated and imagined movements, illusions on the sound by the image. It will be the opportunity for us to revisit the Gestalt concepts which were considered obsolete since structuralism in Humanities. As instantiated by Gilbert Durand in The Anthropological Structures of the Imaginary (1999, French 1st ed. 1960), we shall recall that Gestalt is not—even implicitly—an exclusively static approach to cognition. On the contrary we will (...) emphasize that forms can emerge from movements and stabilize in memory, thence morphology. And for speech, we will consider phonology as the stabilized outcome from audible and visible gestures of the mouth—caught in the time-course of a flow of some four in six syllables by second—via the perception of motor coordinations: which is necessary to master the most common expression of language between humans. We will adopt here also for the perceptual flows of spoken language, Multimodal Scene Analysis, the ongoing legacy of Gestalt Theory, including one of our main research topics: the gestural expression of the face and the hand for Deaf people, who practise as an augment French LPC (Langue française Parlée Complétée), adapted in 1967 from Cued Speech by its originator Dr Richard Cornett. (shrink)

"As one of Louis Althusser's most brilliant students in the 1960s, Etienne Balibar contributed to the theoretical collective masterpiece of Reading Capital. Since then he has established himself amongst the most subtle philosophical and political thinkers in France. In Politics and the Other Scene Balibar deepens and extends the work he first developed with Immanuel Wallerstein in Race, Nation, Class. Exploring the theme of universalism and difference, he addresses questions such as "European racism, " the notion of the border, (...) whether a European citizenship is possible or desirable, violence and politics, identity and emancipation"--provided by publisher. (shrink)

This essay follows the movements of the word “scene” across post-war French thought. The word appears at pivotal moments in the period: it is at the centre of Laplanche and Pontalis’ develo...

In the process of children’s psychological development, various levels of psychological distress often occur, such as attention problems, emotional problems, adaptation problems, language problems, and motor coordination problems; these problems have seriously affected children’s healthy growth. Scene matching in the treatment of psychological distress can prompt children to change from a third-person perspective to a first-person perspective and shorten the distance between scene contents and child’s perceptual experience. As a part of machine learning, deep learning can perform mapping (...) transformations in huge data, process huge data with the help of complex models, and extract multilayer features of scene information. Based on the summary and analysis of previous research works, this paper expounded the research status and significance of the scene matching method for children’s psychological distress, elaborated the development background, current status, and future challenges of deep learning algorithm, introduced the methods and principles of depth spatiotemporal feature extraction algorithm and dynamic scene understanding algorithm, constructed a scene matching model for children’s psychological distress based on deep learning algorithm, analyzed the scene feature extraction and matching function construction of children’s psychological distress, proposed a scene matching method for children’s psychological distress based on deep learning algorithm, performed scene feature matching and information processing of children’s psychological distress, and finally conduced a simulation experiment and analyzed its results. The results show that the deep learning algorithm can have a deep and abstract mining on the characteristics of children’s psychological distress scenes and obtain a large amount of more representative characteristic information through training on large-scale data, thereby improving the accuracy of classification and matching of children’s psychological distress scenes. The study results of this paper provide a reference for further researches on the scene matching method for children’s psychological distress based on deep learning algorithm. (shrink)

Brown examines the types of scene that exist, along with related concepts such as authenticity and the 'really' real. It also explores the effectiveness of scenes in spreading new actions and ideas, as welll as their role in both facilitating 'difference' and introducing originality and newness in modern society. Finally, the book deals with the fragility of scenes, why they can often become subsumed by normality and how this might be prevented.

This article explores various scenes of shame, raising the questions of what shame discloses about the self and how this self-disclosure takes place. Thereby, the common idea that shame discloses the self’s debasement will be challenged. The dramatic dialectics of showing and hiding display a much more ambiguous, dynamic self-image as result of an interactive evaluation of oneself by oneself and others. Seeing oneself seen contributes to the sense of who one becomes. From being absorbed in what one does, one (...) might suddenly become self-aware, shift viewpoints and feel pressed to put on masks. In putting on a mask, one relates to oneself in distancing oneself from oneself. In being at once a moral agent and a performing actor with an audience and norms in mind, one embodies and transcends the social roles one takes. In addition to the feeling of shame, in which the self finds itself passively reflected, the self’s active reflections on its shame are to be taken into account. As examples from Milan Kundera, Shakespeare’s King Lear, a line from Kingsley Amis, a speech by Vaclav Havel and Adam Smith’s Theory of Moral Sentiments indicate, self-presentation in the public and the private sphere is a complex hermeneutical process with surprising twists. (shrink)