The Effect of Image Presentation Rate on Person Identification

This item is only available electronically.Our ability to recognise complex images across contexts depends on our exposure to similar instances. For example, despite much natural variation, it is easier to recognise a new instance of a familiar face than an unfamiliar face. As we encounter similar images, we automatically notice structural commonalities and form a representation of how the image generally looks, even when each image is presented rapidly (i.e., several milliseconds each). However, it is not clear whether this process allows us to better identify new instances of an image compared to assessing single images for a longer duration. Across two experiments, I tested observers’ person recognition ability when presented with rapid image streams at varying rates compared to a single image. Experiment 1 compares performance between upright and inverted faces. Experiment 2 compares performance between fingerprints from the same finger and from the same person more generally. My results suggest that viewing images rapidly is better than single images when identifying faces, but not fingerprints; and that people better recognise upright compared to inverted faces, but are similar in both fingerprint conditions. I discuss the theoretical implications of these results, as well as some practical implications in security and forensic contexts. Keywords: Visual cognition, recognition, gist perception, ensemble coding, face processing, fingerprint analysisThesis (B.PsychSc(Hons)) -- University of Adelaide, School of Psychology, 201

Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

From researcher/performer to artistic researcher: looking back at the past in search of new possibilities

Musicians involved in historically informed performance are pulled in different directions, driven by two different motivations, and when one of them is taken to the extreme, the other runs the risk of being, if not overtaken, at least over- shadowed. One is the motivation to observe and analyse the past, i.e., to contribute to historical knowledge; the other is the motivation to conceive a pertinent artistic intervention, i.e., to contribute to an artistic domain. Reinforced and reassured by an analysis of the chapters in this book, I argue that this contribution to an artistic domain is an essential component of artistic research, supported by documentation that clarifies the pertinence of artistic interventions, promotes more empathetic connections and deeper intimate fruition, and results in mythopoetic reconfigurations. Only a discourse in the narrative mode can possibly play this roll, because it does not exclude embodied meanings and processes of subjective self-disclosure (re-enactments). is discursive mode will enable a reflection on the pertinence of the (inter)subjective concerns that motivated the creation, the pertinence of the creative processes, and/or the aesthetic, ethical, and ecological pertinence of the artistic intervention. us, going beyond an understanding of musical practice as simple “artefact-performance-reception” and embracing a sense of possibility, a specific territory opens for HIP performers. It consists of an embodied intersubjective amalgam of beliefs, convictions and mythopoetic configurations, where they, as artistic researchers, can intervene creating new realities and provoking changes and reconfigurations – rhetorically, pedagogically, and above all artistically.publishe

Kansei Intelligence’s Contributions to Psychological Safety in Online Workplaces

This research aims to examine how Kansei Intelligence contributes to psychological safety in remote workplaces and suggests ways to create pedagogical workshops for workers by applying Kansei Intelligence. Based on the literature, three concepts associated with Kansei Intelligence are identified: 1. Kansei’s meaning changes according to time, people, and space, 2. Kansei involves the capacity to sense one’s own surroundings, have environmental perceptions, and cultivate a sense of belonging to nature, and 3. It is important to be aware of one’s own Kansei status, as well as that of others. Applied qualitative research was conducted in this study; data were ultimately gathered from six interviews and four workshops in various settings, either in Finland or Japan. Applying Kansei Intelligence, four workshops were designed with collaborators. This thesis addresses the two research questions through thematic analysis. The interview data describe different approaches to studying how Kansei Intelligence contributes to the fostering of psychological safety in workplaces. The workshop data indicate how Kansei Intelligence works in online workshops and result in suggestions for subsequent workshops. This thesis indicates that Kansei Intelligence can contribute to psychological safety in online work-places, foster interpersonal relationships through emotional reflection exercises. This also suggests that Kansei Intelligence can create a sense of togetherness and non-verbal communication that normally cannot be created merely with ordinary communication among participants in an online environment

The Javanese self in portraiture from 1880-1955

This thesis, The Javanese self in portraiture from 1880-1955 examines changing understandings and representations of the Javanese self in painted and photographic portraits spanning 75 years from 1880-1955. During this period, Indonesian modern art followed a trajectory from its 19th century beginnings within the domain of exclusive privilege, through the socially engaged Persagi painters to the opening of the first National art school, Akademi Seni Rupa Indonesia. In tandem there was a dramatic shift in the public’s understanding of two concepts: the modern individual and the nation state of Indonesia. The two however are not mutually inclusive and in many cases the modern individual precluded the nation. One must consider that the colonial state, rather than the Republic, was the defining structure into which many of the major players in Indonesian modern art were born and in which they operated. Furthermore, certain individuals crystallised their sense of national consciousness whilst living abroad and in many instances working in conjunction with the Dutch. In some cases the modern individual was situated in an isolated position, far outside any notions of a shared experience with an imagined community. Whilst this thesis is concerned with the biographies of individuals and is deeply committed to a social history of art, the focus on individuals is not made in order to reveal broader assumptions regarding society, but rather to reveal nuanced and sometimes very personal expressions of modernism. Because the appearances of modernism were not always concurrent or consistent with societal modernity, we cannot plot an uninterrupted or continuous path for Indonesian modern art. Yet a number of societal changes that came about during the period from high colonialism to independence affected class structure and gender, giving rise to altered states of selfhood and new methods of artistic expression. It is precisely the complex set of transactions between the individual, larger society and the economic and political conditions of the time that this thesis sets out to articulate in order to reveal a number of significant characteristics regarding the possibilities of self representation in portraiture. First, the early history of Indonesian modern art is plotted in terms of cooperative relationships between Javanese aristocrats and Dutch men. Secondly, that whilst appearing conservative and pro-Dutch, these Javanese artists were critical in initiating a discourse on modern art and in establishing a position of cultural nationalism, domestically and abroad. Finally, the conjunction of the first two points demonstrates that the history of modern Indonesian art began much earlier than previously believed and, perhaps even more significantly, was attached to the idea of Indonesian cultural and national self-determination at a very early stage of its development

Encountering Pain

What is persistent pain? How do we communicate pain, not only in words but in visual images and gesture? How do we respond to the pain of another, and can we do it better? Can explaining how pain works help us handle it? This unique compilation of voices addresses these and bigger questions. Defined as having lasted over three months, persistent pain changes the brain and nervous system so pain no longer warns of danger: it seems to be a fault in the system. It is a major cause of disability globally, but it remains difficult to communicate, a problem both to those with pain and those who try to help. Language struggles to bridge the gap, and it raises ethical challenges in its management unlike those of other common conditions. Encountering Pain shares leading research into the potential value of visual images and non-verbal forms of communication as means of improving clinician–patient interaction. It is divided into four sections: hearing, seeing, speaking, and a final series of contributions on the future for persistent pain. The chapters are accompanied by vivid photographs co-created with those who live with pain. The volume integrates the voices of leading scientists, academics and contemporary artists with poetry and poignant personal testimonies to provide a manual for understanding the meanings of pain, for healthcare professionals, pain patients, students, academics and artists. The voices and experiences of those living with pain are central, providing tools for discussion and future research, shifting register between creative, academic and personal contributions from diverse cultures and weaving them together to offer new understanding, knowledge and hope. Praise for Encountering Pain 'This book is the result of a collaborative, multi-disciplinary investigation into the experience of pain and how it might be understood and ameliorated. Deborah Padfield's photographs, made in collaboration with pain sufferers, reveal how an otherwise debilitating, highly subjective and individualising experience might become a topic for intersubjective communication. Through her innovative and experimental photography we learn that the photographic image can potentially play a role in the medical field by addressing 'what is felt' by the patient alongside the usual indexical medical documentation of 'what is there'. In so doing photography may provide a means of sharing perceptual experience and stimulating doctor-patient discussion around the emotional interplay of body and mind. – Gina Glover, a photographic artist working in the fields of health, genetics and science.www.ginaglover.com ‘This is a majestic volume. Visually striking, intellectually challenging, and experientially transformative, this book promises to change how everyone encounters pain.’ – Dr Rob Boddice, Freie Universität Berlin 'From a remarkable variety of disciplinary and cultural perspectives – from medicine and therapy to the creative arts and philosophy – this inspirational and eye-opening collection succeeds in articulating the mysterious and overwhelmingly complex sensory experience that is pain. Pain, the encounters in this volume suggest, defies definition; it is subjective and unpredictable; it can be phantom or real. Through its radical and engaging use of testimonies, Encountering Pain never shies away from metaphor and the unfounded fear, that the allegorising of pain will dilute its reality. Examined through a multitude of verbal and non-verbal paradigms, contributors discuss the physicality of pain and its political, administrative and medical regulation; the body’s trauma and expressiveness; how pain is transmuted into art. The communication of something that resists being expressed straightforwardly in verbal form metamorphoses, as you read this extraordinarily rich and innovative volume, into a metaphor for life itself, for who we are, how we become social beings by developing empathy and respect for the pain of others, for how we develop and then question through these interactions our sense of identity.' – Professor Stella Bruzzi, Dean, Faculty of Arts and Humanities, UCL ‘Deborah Padfield's book, Perceptions of Pain (2003), introduced a ground-breaking strategy through which photography became an effective tool to interpret pain – an aspect of human experience that can, so often, appear inexplicable. The powerful images in this book are further evidence of the collaborative strength of photography and its special ability to give voice to those who are excluded.’ – Dewi Lewis, Publisher 'A work that brings photographic, figurative and poetic images of chronic pain to the clinic and demonstrates how visual, communicative frameworks can re-voice experiences and diagnoses of pain. This major, deeply reflective collection of papers represents a turning-point in defining the multifaceted importance of painscapes in clinical, therapeutic, and humanistic advocacy work. It firmly situates the arts and humanities, alongside the sciences, in responding to the pressing need for new strategies to alleviate chronic pain.' - Prof Brian Hurwitz, Emeritus Professor of Medicine and the Arts, King's College London 'Pain and its ever-increasing numbers of sufferers inhabit a kind of night world isolated from the “normal” day world. 'A bandage hides the place where each is living', W.H. Auden once wrote, while we, the healthy, 'stand elsewhere’. Encountering Pain is an attempt to narrow this rift by making sure sufferers are heard, seen, and able to speak again – so that they might be better understood. Padfield and Zakrzewska have assembled an impressive team of patients, healthcare providers, artists and academicians, all determined to make pain more visible and communicable. The authors compellingly demonstrate that language -- whether in the form of words, gestures or images – is a necessary first step towards alleviating pain. That it can often be as powerful as medicine. '- Dr David Biro, Associate Clinical Professor of Dermatology at SUNY Health Science Center @ Brooklyn and author of The Language of Pain: Finding Words, Compassion, and Relief

Encountering Pain: Hearing, seeing, speaking

What is persistent pain? How do we communicate pain, not only in words but in visual images and gesture? How do we respond to the pain of another, and can we do it better? Can explaining how pain works help us handle it? This unique compilation of voices addresses these and bigger questions. Defined as having lasted over three months, persistent pain changes the brain and nervous system so pain no longer warns of danger: it seems to be a fault in the system. It is a major cause of disability globally, but it remains difficult to communicate, a problem both to those with pain and those who try to help. Language struggles to bridge the gap, and it raises ethical challenges in its management unlike those of other common conditions. Encountering Pain shares leading research into the potential value of visual images and non-verbal forms of communication as means of improving clinician–patient interaction. It is divided into four sections: hearing, seeing, speaking, and a final series of contributions on the future for persistent pain. The chapters are accompanied by vivid photographs co-created with those who live with pain. The volume integrates the voices of leading scientists, academics and contemporary artists with poetry and poignant personal testimonies to provide a manual for understanding the meanings of pain, for healthcare professionals, pain patients, students, academics and artists. The voices and experiences of those living with pain are central, providing tools for discussion and future research, shifting register between creative, academic and personal contributions from diverse cultures and weaving them together to offer new understanding, knowledge and hope