Neurophysiological correlates of the rubber hand illusion in late evoked and alpha/beta band activity

The rubber hand illusion (RHI) allows insights into how the brain resolves conflicting multisensory information regarding body position and ownership. Previous neuroimaging studies have reported a variety of neurophysiological correlates of illusory hand ownership, with conflicting results likely originating from differences in experimental parameters and control conditions. Here, we overcome these limitations by using a fully automated and precisely-timed visuo-tactile stimulation setup to record evoked responses and oscillatory responses in participants who felt the RHI. Importantly, we relied on a combination of experimental conditions to rule out confounds of attention, body-stimulus position and stimulus duration and on the combination of two control conditions to identify neurophysiological correlates of illusory hand ownership. In two separate experiments we observed a consistent illusion-related attenuation of ERPs around 330 ms over frontocentral electrodes, as well as decreases of frontal alpha and beta power during the illusion that could not be attributed to changes in attention, body-stimulus position or stimulus duration. Our results reveal neural correlates of illusory hand ownership in late and likely higher-order rather than early sensory processes, and support a role of premotor and possibly intraparietal areas in mediating illusory body ownership

Simulator method and apparatus for practicing the mating of an observer-controlled object with a target

A servo controlled target replica, and a surface bearing a computer generated line drawing of an object are individually viewed by separate television cameras allowing a two-dimensional composite of the target replica and the object to be displayed on a monitor simulating what an observer would see through a window in a spacecraft. The target replica is coded along one self coordinate axis in such a way that the distance of an elemental area on the target along the axis is capable of being remotely readout by a television camera. A third television camera responsive to the code reads out this information by which the Z-coordinate, relative to the observer, can be calculated, on-line with the scan, for the contents of each picture element of the scene televised by the target camera

Inadvertent - Ars accidentalis

Even though art is the product of an intentional act of fabrication, the serendipitous spill of an ink or paint, the unforeseen slip of a pen or brush, sudden shake of a camera in the analog realm have the potential of generating an unconscious lead in the planned course of action. The consequential shift in direction may completely change the aesthetics and content of an artwork. An artist should always be open to such 'accidental' dimension which will help him / her to take the original idea out of its initial framework and recontextualize it for a new conception. The outcomes of software ‘failures’ in digital technology made a similar type of aesthetics emerge: Glitch aesthetics. The ‘dirty’ and sometimes ‘chaotic’ nature of glitches made things look much more organic and human, as opposed to mechanically computerized. This unrefined aesthetics has recently become so popular among designers that some of them have made specific websites as tributes to the process. Despite the fact that the accidental dimension in art looks more compatible with analog practices, there are various instances it finds its niche in the digital world as well. Mystifying benefits like freedom from preconceptions, momentary skepticism about planned course of action, avoiding mechanical thinking / prejudices, reaching a more natural / authentic result, discovering unusual and unique aesthetical domains, etc. will always make 'ars accidentalis' an indispensable part of art practice

A general model of fluency effects in judgment and decision making

Processing or cognitive fluency is the experienced ease of ongoing mental processes. This experience infl uences a wide range of judgments and decisions. We present a general model for these fluency effects. Based on Brunswik’s lens-model, we conceptualize fluency as a meta-cognitive cue. For the cue to impact judgments, we propose three process steps: people must experience fluency; the experience must be attributed to a judgment-relevant source; and it must be interpreted within the judgment context. This interpretation is either based on available theories about the experience’s meaning or on the learned validity of the cue in the given context. With these steps the model explains most fl uency effects and allows for new and testable predictions

Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

Cracks in the Glass: The Emergence of a New Image Typology from the Spatio-temporal Schisms of the 'Filmic' Virtual Reality Panorama

Virtual Reality Panoramas have fascinated me for some time; their interactive nature affording a spectatorial engagement not evident within other forms of painting or digital imagery. This interactivity is not generally linear as is evident in animation or film, nor is the engagement with the image reduced to the physical or visual border of the image, as its limit is never visible to the viewer in its entirety. Further, the time taken to interact and navigate across the Virtual Reality panorama’s surface is not reflected or recorded within the observed image. The procedural construction of the Virtual Reality panorama creates an a-temporal image event that denies the durée of its own index and creation. This is particularly evident in the cinematic experiments conducted by Jeffrey Shaw in the 1990s that ‘spatialised’ time and image through the fusion of the formal typology of the Panorama together with the cinematic moving-image, creating a new kind of image technology. The incorporation of the space enclosed by the panorama’s drum, into the conception and execution of the cinematic event, reveals an interesting conceptual paradox. Space and time infinitely and autonomously repeat upon each other as the linear trajectory of the singular cinematic shot is interrupted by a ‘time schism’ on the surface of the panorama. This paper explores what this conceptual paradox means to the evolution of emerging image-technologies and how Shaw’s ‘mixed-reality’ installation reveals a wholly new image typology that presents techniques and concepts though which to record, interrogate, and represent time and space in Architecture

Perception and Cognition Are Largely Independent, but Still Affect Each Other in Systematic Ways: Arguments from Evolution and the Consciousness-Attention Dissociation

The main thesis of this paper is that two prevailing theories about cognitive penetration are too extreme, namely, the view that cognitive penetration is pervasive and the view that there is a sharp and fundamental distinction between cognition and perception, which precludes any type of cognitive penetration. These opposite views have clear merits and empirical support. To eliminate this puzzling situation, we present an alternative theoretical approach that incorporates the merits of these views into a broader and more nuanced explanatory framework. A key argument we present in favor of this framework concerns the evolution of intentionality and perceptual capacities. An implication of this argument is that cases of cognitive penetration must have evolved more recently and that this is compatible with the cognitive impenetrability of early perceptual stages of processing information. A theoretical approach that explains why this should be the case is the consciousness and attention dissociation framework. The paper discusses why concepts, particularly issues concerning concept acquisition, play an important role in the interaction between perception and cognition

The (Elusive) Theory of Everything

Stephen Hawking's work on black holes and the origin of the universe is arguably the most concrete progress theoretical physicists have made toward reconciling Einstein's gravitation and quantum physics into one final theory of everything. Physicists have a favorite candidate for such a theory, string theory, but it comes in five different formulations, each covering a restricted range of situations. A network of mathematical connections, however, links the different string theories into one overarching system, enigmatically called M-theory: perhaps the network is itself the final theory. In a new book, The Grand Design, Hawking and Caltech physicist Leonard Mlodinow argue that the quest to discover a final theory may in fact never lead to a unique set of equations. Every scientific theory, they write, comes with its own model of reality, and it may not make sense to talk of what reality actually is. This essay is based on that book