Visual motion illusions, eye movements, and the search for objectivity

The initial interpretations of motion phenomena are often in terms of eye movements. It reflects a desire to link an objective expression of motion (of the eyes) with a subjective experience of motion. This approach is examined historically with respect to induced motion, motion aftereffects, visual vertigo, autokinetic effects and stroboscopic motion. All but one of these phenomena were initially observed in the natural environment and they have subsequently been studied under laboratory conditions. Eye movements are not correlated with induced motion, the motion aftereffect, or stroboscopic motion, but they do correspond to the direction and extent of visual vertigo. The extent of apparent visual motion in the autokinetic effect far exceeds that of involuntary eye movements but there might be a weak relation between them. If eye movements are to provide a reasonable account of motion illusions then they should apply to all the contours that are visible. This does apply to visual vertigo, but not to induced motion, the motion aftereffect and stroboscopic motion, all of which involve relative motion in a visible display. The autokinetic phenomenon involves the perception of isolated stimuli, and so interpretations in terms of some internal eye movement signals remain sustainable.     

Visual Motion Illusions,Eye Movements,and the Search for Objectivity

The initial interpretations of motion phenomena are often in terms of eye movements. It reflects a desire to link an objective expression of motion (of the eyes) with a subjective experience of motion. This approach is examined historically with respect to induced motion, motion aftereffects, visual vertigo, autokinetic effects and stroboscopic motion. All but one of these phenomena were initially observed in the natural environment and they have subsequently been studied under laboratory conditions. Eye movements are not correlated with induced motion, the motion aftereffect, or stroboscopic motion, but they do correspond to the direction and extent of visual vertigo. The extent of apparent visual motion in the autokinetic effect far exceeds that of involuntary eye movements but there might be a weak relation between them. If eye movements are to provide a reasonable account of motion illusions then they should apply to all the contours that are visible. This does apply to visual vertigo, but not to induced motion, the motion aftereffect and stroboscopic motion, all of which involve relative motion in a visible display. The autokinetic phenomenon involves the perception of isolated stimuli, and so interpretations in terms of some internal eye movement signals remain sustainable.     

Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

REPORT Neurology of the Arts Mansell Bequest Symposium at the Medical Society of London 30 April–1 May 2001

Philosophical instruments were designed to examine phenomena experimentally, rather than by naturalistic observation alone. In the nineteenth century, some instruments were called philosophical toys because they provided popular amusement as well as experimental assistance. They were applied widely in natural philosophy, but attention here is directed particularly to manipulations of perceived space and time and their influence on art. One of the earliest instruments, which had a profound impact on art as well as science, was the camera obscura. It assisted image formation in art before it was applied as an analogy to the eye at the beginning of the seventeenth century. Later philosophical toys were used to address visual perception of motion and depth. Development was initially driven by the need for stimulus control so that the methods of physics could be applied to the study of perceptual phenomena. The principal instruments were invented in the first half of the nineteenth century, and they consisted of simple contrivances that manipulated time and space in ways that had not previously been appreciated. They included thaumatropes, phenakistoscopes, stroboscopes, anorthoscopes, stereoscopes, tachistoscopes, and chronoscopes. Several of these philosophical toys proved to be phenomenally popular, particularly when combined with photography.     

Philosophical instruments and toys: optical devices extending the art of seeing

Philosophical instruments were designed to examine phenomena experimentally, rather than by naturalistic observation alone. In the nineteenth century, some instruments were called philosophical toys because they provided popular amusement as well as experimental assistance. They were applied widely in natural philosophy, but attention here is directed particularly to manipulations of perceived space and time and their influence on art. One of the earliest instruments, which had a profound impact on art as well as science, was the camera obscura. It assisted image formation in art before it was applied as an analogy to the eye at the beginning of the seventeenth century. Later philosophical toys were used to address visual perception of motion and depth. Development was initially driven by the need for stimulus control so that the methods of physics could be applied to the study of perceptual phenomena. The principal instruments were invented in the first half of the nineteenth century, and they consisted of simple contrivances that manipulated time and space in ways that had not previously been appreciated. They included thaumatropes, phenakistoscopes, stroboscopes, anorthoscopes, stereoscopes, tachistoscopes, and chronoscopes. Several of these philosophical toys proved to be phenomenally popular, particularly when combined with photography.     

MIGRAINE, LIGHT AND HALLUCINOGENS: THE NEUROCOGNITIVE BASIS OF IRISH MEGALITHIC ART

Irish passage-tomb art has been interpreted as a representation of endogenous visual phenomena associated with consciousness-altering practices. This paper describes an analysis of passage-tomb art in which a detailed breakdown of shape distributions is used to identify the specific means of inducing these visual phenomena at each tomb. This suggests three major sources for the art: migraine, light flicker and hallucinogenic substances, which are evident in different combinations at different tombs.     

The potential of destruction in art and science

ABSTRACT

Artist and researcher Neal White argues for the potential role of radical engagements in science by drawing on the work of pioneers of conceptual art: John Latham (1921–2006), Gustav Metzger (1926–2017) in the UK, and György Kepes (1906–2001) and Robert Smithson (1938–1973) in the US. Starting with destruction as a positive force in artistic practice, White examines the ideas developed by these artists as a conceptual framework for thinking through time, chemical process and event structures within the context of the Cold War. In further examining the social context and contemporary landscape of cultural forms servicing science in terms of the communication of ideas, or underpinning further a knowledge economy, he argues for artists to engage science on their own terms, through a renewal of radical practices. This would in turn create new and critically framed work of benefit to culture and society more generally.     

Playful and multi-sensory fieldwork: seeing,hearing and touching New York

Geographical fieldwork is being reinvigorated through pedagogical and methodological innovations. Yet, while there are many good ideas in circulation, there is less evidence of where these ideas are taking us: what students are getting out of them, and what significance they may have for the discipline. These questions are explored through case studies involving playful and multi-sensory fieldwork: collecting sounds, urban climbing, finding “accidental art” and getting lost. Students tend enjoy this approach to fieldwork, which inspires them to learn actively and creatively, fosters the acquisition of new skills and explores the broader possibilities of playful and multi-sensory geographies.     

J.S. Bach’s St. Matthew Passion and intellectual history

ABSTRACT

Recent thinking about Intellectual History has moved beyond studying only verbal texts, to encompass other kinds of visual and aural texts that can be vehicles for generative thought. Where might music fit into this expanded conception? If ideas are defined purely as concepts that can be expressed in words, music can be no more than an “epiphenomenon”, a consequence or representation of ideas that lie behind it, but not capable of embodying those ideas in itself. Yet to many musicians, it seems obvious that music can function as a way in which ideas are developed and worked out. What kinds of knowledge might be embodied in music, then, and how do its meanings change over time? In this paper, I examine some of these issues through consideration of one of the key texts of Western art music, J.S. Bach’s St. Matthew Passion, exploring how it was conceived in a liturgical context in Bach’s time, how its meaning changed when transposed to the very different milieus of concert performance in nineteenth-century Berlin and colonial Sydney, and as it has been re-imagined in a variety of recent staged and recorded versions.     

中国地方志跨文化传播中的受众意识

在文化建设受到更多关注、文化自信持续提升的大背景下,作为国家软实力和文化传承重要形式的中国地方志(1),在跨文化传播(2)的内容和渠道上,着力突出独特性、直观性、高价值和权威性等特征,满足了国外受众的多样化需求,提升了自身的国际知名度。但同时必须注意,现有的各类文化产品和活动往往立足于宏观层面,以广义而非细分的国外受众为主,相应的研究和实践还有很大的深化拓展空间。要更为精准地实现中国地方志传播效果的最大化,就必须强化受众意识,从更多层面关注国外接受对象的不同特征;在个性化传播策略上不断优化,努力促成地方志"走出去"方式方法的拓展,实现对国家文化输出战略的有效配合。     

The Origins of the Concept of ‘Palaeolithic Art’: Theoretical Roots of an Idea

This paper explores the origin and theoretical roots of the concept of ‘Palaeolithic art’ in the late nineteenth and early twentieth centuries (1895–1906). It identifies three main sources for this concept: the Western category of ‘art’, the idea of evolution and the notion of primitive. This article shows how the traditional conception of ‘Palaeolithic art’ is a particular case of the wider idea of ‘primitive art’, a category that was born as an attempt to harmonise the notion of ‘primitive society’ and the nineteenth-century bourgeois concept of ‘art’. Additionally, I discuss this traditional conception as the source of a number of ideas that have persisted in our way of interpreting Palaeolithic images until recently, including the understanding of prehistoric images through the lens of the modern notion of ‘art’, their interpretation in symbolic-religious terms and their formal definition based on the idea of naturalism.     

Radicalization revisited: violence,politics and the skills of the body

For more than a decade, ‘radicalization’ has been a keyword in our understanding of terrorism. From the outset, radicalization was conceived of as an intellectual process through which an individual would increasingly come under a spell of extremist ideas. This ideological understanding of radicalization still prevails. In a 2015 speech on extremism, British Prime Minister David Cameron, for instance, claimed that the ‘root cause of the threat we face is the extremist ideology itself’. But the way we understand radicalization has specific consequences for the way we manage and fight the scourge of terrorism. Considering recent events, including the November 2015 Paris attacks, the present article sets out to reassess the above‐mentioned intellectualist understanding of radicalization and come up with new suggestions as to how radicalization may be understood today. Initially, the article suggests that ideology is not necessarily a precondition for violence, but that a prior experience with violence is more often a precondition for engaging an extremist ideology. Such experience with violence can be both domestic and international, obtained in Europe or Syria and other conflict zones. In the second part of the article it is argued that although radicalization is often conceived of as an individual process, pathways towards terrorism are inherently social and political. Finally, the article argues that by stressing the importance of ideology and ideological processes, concepts of radicalization have abstracted away from another factor that is pivotal for understanding pathways towards terrorist violence: the skills and capacities of the body.     

European Integration and Spatial Rescaling in the Baltic Region: Soft Spaces,Soft Planning and Soft Security

Abstract

Spatial rescaling arguably represents one of the most significant recent changes in planning. Rescaling processes do not merely imply changes in powers across existing layers of decision-making, but also entail new scales of intervention, new actor constellations and new geometries of governance. A wide range of examples of spatial rescaling can be seen across Europe, varying from local through to regional and international. The emergence of “soft spaces”—regions in which strategy is made between or alongside formal institutions and processes—is one of the phenomena associated with contemporary spatial rescaling. These spaces are often overlapping and characterized by fuzzy geographical boundaries. The formation of soft spaces is often articulated in terms of breaking away from the rigidities associated with the practices and expectations of working within existing political or administrative boundaries but can also be viewed as providing a means of bypassing formal procedures and reducing democratic accountability. Focusing on European territorial cooperation and development strategies in the Baltic region, this paper discusses how they are contributing to spatial rescaling in soft spaces and how the strategies can be seen as a form of soft planning and as a means to promote soft security policy (which could be considered as a wider form of foreign policy).     

Exploring Poetry with Cognitive Neuroscience: T.S. Eliot's ‘The Love Song of J. Alfred Prufrock’

Research that involves both neuroscience and art often attempts to explain the aesthetic experience of ‘beauty’ in visual art, and to define the function of art in neural terms; less has been written concerning the neural correlates of poetry reading. It is suggested that there are existing areas of study in neuroscience that may help elucidate how we enjoy literature beyond pure neuroaesthetics, such as research in creative problem-solving, knowledge-based pleasure, and music. This essay endeavours to bring together insights from both neuroscience and literature to shed light on how and why we take pleasure in interpreting T.S. Eliot's ‘The Love Song of J. Alfred Prufrock’. It is proposed that the pleasures of reading ‘Prufrock’ are ultimately associated with the ways in which the reader's expectations are confirmed or challenged. While the conclusions of this paper are intentionally constrained to a single poem, they are potentially generalisable.     

Divergence,Sensitivity, and Nonequilibrium in Ecosystems

Contemporary theoretical debate in ecology and biogeography is often focused on equilibrium vs. nonequilibrium behavior in ecosystems and on the nature and source of ecosystem dynamics. It is suggested that these debates be recast in terms of the way ecosystems develop and respond to disturbances, rather than in terms of concepts often imported from mathematics, physics, and other fields. Using nonlinear dynamical systems theory, it is shown that key theoretical implications can be cast in terms of geoecologically significant phenomenologies such as divergent evolution, sensitivity to initial conditions and small disturbances, historical contingency, and path dependence. Examples show these phenomena are widely observed in ecosystems. Ecological and biogeographical theory can be problematized from within geography and ecology rather than fuzzy, abstract concepts such as equilibrium, self‐organization, “balance of nature,” or chaos. Complexity, sensitivity, variability, nonsteady states, and other concepts often associated with nonequilibrium or complexity‐theory frameworks have manifestations that are evident in observable ecological phenomena, in addition to theory and models.     

Hannah Arendt on the Power of Creative Making in a World of Plural Cultures

Since culture is a form of poēsis and thus carries the danger of monologism and domination, and since today political “conflicts are increasingly defined from a cultural standpoint,” the question this paper addresses is whether culture can affect politics other than as a form of conflict and political aestheticism. Put differently: can culture become a source of communication and dialogue in politics? The answer this paper proposes is that culture can do so not by uncompromisingly divorcing praxis from any association with poēsis, but by making a distinction between two forms of poēsis. I argue that there are good grounds in Hannah Arendt's conception of the human condition and of the life of the mind to think that a distinction is possible between, on the one hand, technical, and thus non-creative, making and, on the other hand, metaphorical, imaginative, and creative making. It is the work of art that, through the joint employment of taste and polyphonic authorship, brings culture into politics in a manner that creatively and dialogically serves the purpose of augmenting the world. Through taste one is receptive to particulars and thus capable of judging their worldly suitability, while keeping one's mind open. Through polyphonic authorship one anticipates the unfinalized and open character of ideas and thus, the ongoing need to speak with other ideas, with the ideas of others.     

Reflections on the Identities and Roles of the Artists in European Paleolithic Societies

In an attempt to introduce concerns with social identities into the discussion and understanding of the making of what we call Paleolithic art, this article considers issues of gender, skill, apprenticeship, and tradition. We note that, as in every period of history, Paleolithic art can be seen as embedded in the society that studies it. Over the last 20 years, the research attention given to women in Paleolithic societies has grown considerably, leading us to ask what could have been the roles of women in Paleolithic art. On what criteria could we base a determination of those roles or of other social identities that were likely part of the making and viewing of Paleolithic art?Thanks to our microscopic analysis of engravings, it is possible to identify the skill level and expertise of the artists and thus to address the question of apprenticeship and how these techniques were transmitted. We observe many similarities that allow us to group together various works of art, sometimes from very distant sites, which indicate a movement of ideas, objects, and people. Are we talking about “imitation”? How can we define an “invention” within a social context strongly bound by traditions?     

A Platform for Art: Infrastructural Citizenship Beyond Monumentality in Toronto’s Transit Art

The flourishing of transit art globally reflects a widespread belief in the power of aesthetic practices to promote infrastructural and civic revitalisation. This article analyses how transit art engages spaces and practices of publicness and how art explores ideas of mobility in Toronto. It argues that while arts are frequently deployed to reproduce status quo relations of power and to bolster elite and exclusionary forms of urbanisation, they can also work to challenge these. Through the notion of infrastructural citizenship, I show how arts can unsettle grounds of public space and public life and illuminate the contentious relations that cohere in public transit space. Overall, I claim that transit networks are a key platform through which the politics of public art are staged and that despite existing constraints, there are many affordances for transit art to critically intervene into neoliberal urban processes.     

Nietzsche as Deep Historian

The recent biocultural turn in evolutionary and neurological research suggests that prior efforts to combine historical and biological thinking, often dismissed as crude biological determinism, warrant a second look. In this essay, I show how a number of Nietzsche’s main ideas about historiography anticipate these developments. Nietzsche insisted that the study of history could assimilate the natural sciences by overcoming fixed disciplinary assumptions about when history begins, thereby extending the historical timeline deep into our species’ past. He also described the ongoing transformations in human mental structure that have been generated through the complex historical interaction of human biology and culture. Nietzsche viewed this interaction as crucial to understanding historical phenomena such as the power of religious organization and ritual, the emergence of democratic egalitarianism, and the formation of entrenched social hierarchies.     

‘We don't do dots ‐ ours is lines’ — Asserting a Barkindji Style

ABSTRACT This paper offers an ethnographic exploration of the assertion of a ‘Barkindji style’ art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art‐making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the role of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to ‘belong to us’ is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art ‘styles’ and material culture from what is widely referred to as south‐eastern Australia.