The Role of Multiple Articulatory Channels of Sign-Supported Speech Revealed by Visual Processing

Purpose The use of sign-supported speech (SSS) in the education of deaf students has been recently discussed in relation to its usefulness with deaf children using cochlear implants. To clarify the benefits of SSS for comprehension, 2 eye-tracking experiments aimed to detect the extent to which signs are actively processed in this mode of communication. Method Participants were 36 deaf adolescents, including cochlear implant users and native deaf signers. Experiment 1 attempted to shift observers' foveal attention to the linguistic source in SSS from which most information is extracted, lip movements or signs, by magnifying the face area, thus modifying lip movements perceptual accessibility (magnified condition), and by constraining the visual field to either the face or the sign through a moving window paradigm (gaze contingent condition). Experiment 2 aimed to explore the reliance on signs in SSS by occasionally producing a mismatch between sign and speech. Participants were required to concentrate upon the orally transmitted message. Results In Experiment 1, analyses revealed a greater number of fixations toward the signs and a reduction in accuracy in the gaze contingent condition across all participants. Fixations toward signs were also increased in the magnified condition. In Experiment 2, results indicated less accuracy in the mismatching condition across all participants. Participants looked more at the sign when it was inconsistent with speech. Conclusions All participants, even those with residual hearing, rely on signs when attending SSS, either peripherally or through overt attention, depending on the perceptual conditions.Unión Europea, Grant Agreement 31674

Jointly structuring triadic spaces of meaning and action:book sharing from 3 months on

This study explores the emergence of triadic interactions through the example of book sharing. As part of a naturalistic study, 10 infants were visited in their homes from 3-12 months. We report that (1) book sharing as a form of infant-caregiver-object interaction occurred from as early as 3 months. Using qualitative video analysis at a micro-level adapting methodologies from conversation and interaction analysis, we demonstrate that caregivers and infants practiced book sharing in a highly co-ordinated way, with caregivers carving out interaction units and shaping actions into action arcs and infants actively participating and co-ordinating their attention between mother and object from the beginning. We also (2) sketch a developmental trajectory of book sharing over the first year and show that the quality and dynamics of book sharing interactions underwent considerable change as the ecological situation was transformed in parallel with the infants' development of attention and motor skills. Social book sharing interactions reached an early peak at 6 months with the infants becoming more active in the coordination of attention between caregiver and book. From 7-9 months, the infants shifted their interest largely to solitary object exploration, in parallel with newly emerging postural and object manipulation skills, disrupting the social coordination and the cultural frame of book sharing. In the period from 9-12 months, social book interactions resurfaced, as infants began to effectively integrate object actions within the socially shared activity. In conclusion, to fully understand the development and qualities of triadic cultural activities such as book sharing, we need to look especially at the hitherto overlooked early period from 4-6 months, and investigate how shared spaces of meaning and action are structured together in and through interaction, creating the substrate for continuing cooperation and cultural learning

An Exploration of Female Sexuality, Class Status, and Art in Hardy’s Short Stories

In this paper, I examine Hardy’s treatment of female sexuality as mediated by art in two short stories: “The Fiddler of the Reels” and “An Imaginative Woman.” Given Hardy’s role as an artist, his noted compassion for women, and his interest in Victorian attitudes toward sexuality, my analysis of these topics in his short stories is particularly relevant. Hardy’s investment in class issues is also pertinent, as I consider how Hardy uses his heroines’ relationships with art to underline the distinct disadvantages of lower-class women. While Ella, the middle-class heroine of “An Imaginative Woman,” uses poetry to channel stagnant sensual energies as a relatively empowered subject, music objectifies and overpowers the lower-class Car’line of “The Fiddler of the Reels.” In my analysis, I compare Ella and Car’line’s interactions with art, noting art’s potential to serve as an emotional outlet, a source of pleasure, or an overwhelming and dangerous force. I argue that middle-class women possess a clear advantage: their access to Victorian discourses that acknowledge female sexuality and their encouragement to engage the creative arts as active agents afford them a level of power. Ella thus uses art as a tool to express her desires and to obtain a degree of sexual satisfaction. On the contrary, the rural, working-class Car’line is completely vulnerable to Wat’s fiddle, and its power ultimately causes her emotional and physical deterioration. In my comparison of female sexuality and artistic expression in “The Fiddler of the Reels” and “An Imaginative Woman, I elucidate Hardy’s efforts to reveal the distinct disadvantages of lower-class women in Victorian society

Mixed reality participants in smart meeting rooms and smart home enviroments

Human–computer interaction requires modeling of the user. A user profile typically contains preferences, interests, characteristics, and interaction behavior. However, in its multimodal interaction with a smart environment the user displays characteristics that show how the user, not necessarily consciously, verbally and nonverbally provides the smart environment with useful input and feedback. Especially in ambient intelligence environments we encounter situations where the environment supports interaction between the environment, smart objects (e.g., mobile robots, smart furniture) and human participants in the environment. Therefore it is useful for the profile to contain a physical representation of the user obtained by multi-modal capturing techniques. We discuss the modeling and simulation of interacting participants in a virtual meeting room, we discuss how remote meeting participants can take part in meeting activities and they have some observations on translating research results to smart home environments

The effect of high- and low-frequency previews and sentential fit on word skipping during reading

In a previous gaze-contingent boundary experiment, Angele and Rayner (2013) found that readers are likely to skip a word that appears to be the definite article the even when syntactic constraints do not allow for articles to occur in that position. In the present study, we investigated whether the word frequency of the preview of a 3-letter target word influences a reader’s decision to fixate or skip that word. We found that the word frequency rather than the felicitousness (syntactic fit) of the preview affected how often the upcoming word was skipped. These results indicate that visual information about the upcoming word trumps information from the sentence context when it comes to making a skipping decision. Skipping parafoveal instances of the therefore may simply be an extreme case of skipping high-frequency words

FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience

The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. In fact, a central point of his work gesture/data is to replicate our dependent relationship with technology and how people interact with the virtual world. This world is only available by viewing through a screen; it is unreachable, unlike the tangible objects, that we can physically feel, via which Gonzalez-Torres’ works often confronted viewers. These two artists demonstrate stark, pivotal generational differences: a world and society before technology, art before digital technology (Gonzalez-Torres), and the effects and experiences of art in a world engulfed by such technology entirely (Okiishi). One relies on physical interaction, and the other responds and relays the effects of infinite, intangible spectacles. Both speak to the importance and meaning of presence, or being, and what part that presence or absence plays in art experience during these juxtaposing time periods: before and after the Internet. In his 1967 book The Society of the Spectacle, French theorist Guy Debord wrote, “in societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation”.[1] Gonzalez-Torres’ and Okiishi’s artworks both could be said to exemplify this idea of evolution and generational transformation, but in Okiishi’s work, there is an increased disconnection, to the point that everything may be mere representation. This raises the question: has art changed with technology? Have we lost actual experience to mere representation? [1]Debord, Guy. The Society of the Spectacle. Buchet-Chastel, 196