Jizz and the joy of pattern recognition:virtuosity, discipline and the agency of insight in UK naturalists’ arts of seeing

Approaches to visual skilling from anthropology and STS have tended to highlight the forces of discipline and control in understanding how shared visual accounts of the world are created in the face of potential differences brought about by multi-sensorial perception. Drawing upon a range of observational and interview material from an immersion in naturalist training and biological recording activities between 2003 and 2009, I focus upon jizz, a distinct form of gestalt perception much coveted by naturalist communities in the UK. Jizz is described as a tacit and embodied way of seeing that instantaneously reveals the identity of a species, relying upon but simultaneously suspending the arduous and meticulous study of an organism’s diagnostic characteristics. I explore the potential and limitations of jizz to allow for both visual precision and an enchanted and varied form of encounter with nature. In so doing, I explore how the specific characteristics of wild, intangible and irreverent virtuoso performance work closely together with disciplining taxonomic standards. As such, discipline and irreverence work together, are mutually enabling, and allow for an accommodation rather than a segregation of potential difference brought about by perceptual variety

Attention, Fixation, and Change Blindness

The topic of this paper is the complex interaction between attention, fixation, and one species of change blindness. The two main interpretations of the target phenomenon are the ‘blindness’ interpretation and the ‘inaccessibility’ interpretation. These correspond to the sparse view (Dennett 1991; Tye, 2007) and the rich view (Dretske 2007; Block, 2007a, 2007b) of visual consciousness respectively. Here I focus on the debate between Fred Dretske and Michael Tye. Section 1 describes the target phenomenon and the dialectics it entails. Section 2 explains how attention and fixation weigh in these debates, and argues that Dretske’s hyper-rich view fails precisely because he overlooks certain effects of attention and fixation. Section 3 explains why Tye’s view is also unsatisfying, mainly because he misconceives the degree of access. Section 4 then puts forward the positive model covariance, which has it that the degree of cognitive access tracks the degree of phenomenology, and contrasts it with Block’s view on the Sperling iconic memory paradigm. The paper ends with a discussion of levels of seeing, which involve crowding, indexing, and other visual phenomena. Change ‘blindness’ is a set of phenomena that was discovered about two decades ago, yet an entirely satisfying understanding is still lacking. To move forward, a more detailed understanding of attention and fixation is called for

Applying psychological science to the CCTV review process: a review of cognitive and ergonomic literature

As CCTV cameras are used more and more often to increase security in communities, police are spending a larger proportion of their resources, including time, in processing CCTV images when investigating crimes that have occurred (Levesley & Martin, 2005; Nichols, 2001). As with all tasks, there are ways to approach this task that will facilitate performance and other approaches that will degrade performance, either by increasing errors or by unnecessarily prolonging the process. A clearer understanding of psychological factors influencing the effectiveness of footage review will facilitate future training in best practice with respect to the review of CCTV footage. The goal of this report is to provide such understanding by reviewing research on footage review, research on related tasks that require similar skills, and experimental laboratory research about the cognitive skills underpinning the task. The report is organised to address five challenges to effectiveness of CCTV review: the effects of the degraded nature of CCTV footage, distractions and interrupts, the length of the task, inappropriate mindset, and variability in people’s abilities and experience. Recommendations for optimising CCTV footage review include (1) doing a cognitive task analysis to increase understanding of the ways in which performance might be limited, (2) exploiting technology advances to maximise the perceptual quality of the footage (3) training people to improve the flexibility of their mindset as they perceive and interpret the images seen, (4) monitoring performance either on an ongoing basis, by using psychophysiological measures of alertness, or periodically, by testing screeners’ ability to find evidence in footage developed for such testing, and (5) evaluating the relevance of possible selection tests to screen effective from ineffective screener

Do we see apples as edible?

Do we (sometimes) perceive apples as edible? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we see it as having certain shape, size and color and we only infer on the basis of these properties that it is. I argue that we do indeed see objects as edible, and do not just believe that they are. My argument proceeds in two steps. First, I point out that Susanna Siegel's influential argument in favor of the claim that we represent sortal properties perceptually does not work. Second, I argue that we can fix this argument if we replace the sortal property in question with the property of being edible, climbable or Q-able in genera

Pre-service Possibilities: Reconsidering \u27\u27Art for the Elementary Educator

Art for the Elementary Educator courses are sites of possibility in the field of art education, particularly art education oriented toward curriculum integration and meaningful art experiences. Drawing on literature about Art for the Elementary Educator courses and our own teaching experiences we make recommendations for reconsidering possible futures for this course as related to the future of art education. We believe that this course, its students, instructors, and course materials are worthy of sustained attention by the art education community. Ultimately, we argue that art education appreciation and advocacy, concepts we define in our concluding remarks, should be primary objectives for such classes. Reconsidering Art for the Elementary Educator in light of these ideas requires renewed examination of course content, student dispositions, instructor preparation, and teaching and learning resources

Is Vision for Action Unconscious?

Empirical work and philosophical analysis have led to widespread acceptance that vision for action, served by the cortical dorsal stream, is unconscious. I argue that the empirical argument for this claim is unsound. That argument relies on subjects’ introspective reports. Yet on biological grounds, in light of the theory of primate cortical vision, introspection has no access to dorsal stream mediated visual states. It is thus wrongly assumed that introspective reports speak to absent phenomenology in the dorsal stream. In light of this, I consider a different conception of consciousness’s relation to agency in terms of access. While theoretical reasons suggest that the inaccessibility of the dorsal stream to conceptual report is evidence that it is unconscious, this position begs important questions. I propose a broader notion of access in respect of the guidance of intentional agency and not, narrowly, conceptual report (Note: this paper contradicts my earlier paper, "The Case for Zombie Agency")

Sonic Pictures

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism

The design and evaluation of an auditory-enhanced scrollbar

A structured method is described for the analysis of interactions to identify situations where hidden information may exist and where non-speech sound might be used to overcome the associated problems. Interactions are considered in terms of events, status and modes to find any hidden information. This is then categorised in terms of the feedback needed to present it. An auditory-enhanced scrollbar, based on the method described, was then experimentally tested. Timing and error rates were used along with subjective measures of workload. Results from the experiment show a significant reduction in time to complete one task, a decrease in the mental effort required and an overall preference for the auditory-enhanced scrollbar

The History of Vision

One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have some reason to think that at least in certain contexts, visual attention does have a histor

Science, substance and spatial appearances

According to a certain kind of naïve or folk understanding of physical matter, everyday ‘solid’ objects are composed of a homogeneous, gap-less substance, with sharply defined boundaries, which wholly fills the space they occupy. A further claim is that our perceptual experience of the environment represents or indicates that the objects around us conform to this sort of conception of physical matter. Were this further claim correct, it would mean that the way that the world appears to us in experience conflicts with the deliverances of our best current scientific theories in the following respect: perceptual experience would be intrinsically misleading concerning the structure of physical matter. I argue against this further claim. Experience in itself is not committed to, nor does it provide evidence for, any such conception of the nature of physical matter. The naïve/folk conception of matter in question cannot simply be ‘read-off’ from perceptual appearances