Development of intuitive rules: Evaluating the application of the dual-system framework to understanding children's intuitive reasoning

This is an author-created version of this article. The original source of publication is Psychon Bull Rev. 2006 Dec;13(6):935-53 The final publication is available at www.springerlink.com Published version: http://dx.doi.org/10.3758/BF0321390

You Must Be a Duet in Everything: An Examination of the Body in Wyndham Lewis\u27s Tarr

Wyndham Lewis is a much-ignored Canadian born British artist who alongside Ezra Pound, TS Eliot, Virginia Woolf, and James Joyce (all of whom he was friends with at various points in his life) helped form what we now call English High Modernism. Along with Ezra Pound in 1914, he founded the only avant-garde English art movement: Vorticism. Lewis was in his early thirties by that time, and had already joined and left the Bloomsbury Group. Although Vorticism is Lewis\u27s creation that gets him the most attention, his work defies classification: the list of his writings contains literature, philosophy, sociology, political science, journalism, short stories, art critiques, two autobiographies, travel essays, drama, and poetry, and he edited numerous journals, while he painted dozens upon dozens of paintings and drew feverishly before he went blind in the early 1950s. His visual style in his paintings ranges from \u27normal\u27 representational portraits, to cubist, futurist, Vorticist, and various non-representational styles

SciTech News Volume 71, No. 2 (2017)

Columns and Reports From the Editor 3 Division News Science-Technology Division 5 Chemistry Division 8 Engineering Division 9 Aerospace Section of the Engineering Division 12 Architecture, Building Engineering, Construction and Design Section of the Engineering Division 14 Reviews Sci-Tech Book News Reviews 16 Advertisements IEEE

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Contextual Social Networking

The thesis centers around the multi-faceted research question of how contexts may be detected and derived that can be used for new context aware Social Networking services and for improving the usefulness of existing Social Networking services, giving rise to the notion of Contextual Social Networking. In a first foundational part, we characterize the closely related fields of Contextual-, Mobile-, and Decentralized Social Networking using different methods and focusing on different detailed aspects. A second part focuses on the question of how short-term and long-term social contexts as especially interesting forms of context for Social Networking may be derived. We focus on NLP based methods for the characterization of social relations as a typical form of long-term social contexts and on Mobile Social Signal Processing methods for deriving short-term social contexts on the basis of geometry of interaction and audio. We furthermore investigate, how personal social agents may combine such social context elements on various levels of abstraction. The third part discusses new and improved context aware Social Networking service concepts. We investigate special forms of awareness services, new forms of social information retrieval, social recommender systems, context aware privacy concepts and services and platforms supporting Open Innovation and creative processes. This version of the thesis does not contain the included publications because of copyrights of the journals etc. Contact in terms of the version with all included publications: Georg Groh, [email protected] zentrale Gegenstand der vorliegenden Arbeit ist die vielschichtige Frage, wie Kontexte detektiert und abgeleitet werden können, die dazu dienen können, neuartige kontextbewusste Social Networking Dienste zu schaffen und bestehende Dienste in ihrem Nutzwert zu verbessern. Die (noch nicht abgeschlossene) erfolgreiche Umsetzung dieses Programmes führt auf ein Konzept, das man als Contextual Social Networking bezeichnen kann. In einem grundlegenden ersten Teil werden die eng zusammenhängenden Gebiete Contextual Social Networking, Mobile Social Networking und Decentralized Social Networking mit verschiedenen Methoden und unter Fokussierung auf verschiedene Detail-Aspekte näher beleuchtet und in Zusammenhang gesetzt. Ein zweiter Teil behandelt die Frage, wie soziale Kurzzeit- und Langzeit-Kontexte als für das Social Networking besonders interessante Formen von Kontext gemessen und abgeleitet werden können. Ein Fokus liegt hierbei auf NLP Methoden zur Charakterisierung sozialer Beziehungen als einer typischen Form von sozialem Langzeit-Kontext. Ein weiterer Schwerpunkt liegt auf Methoden aus dem Mobile Social Signal Processing zur Ableitung sinnvoller sozialer Kurzzeit-Kontexte auf der Basis von Interaktionsgeometrien und Audio-Daten. Es wird ferner untersucht, wie persönliche soziale Agenten Kontext-Elemente verschiedener Abstraktionsgrade miteinander kombinieren können. Der dritte Teil behandelt neuartige und verbesserte Konzepte für kontextbewusste Social Networking Dienste. Es werden spezielle Formen von Awareness Diensten, neue Formen von sozialem Information Retrieval, Konzepte für kontextbewusstes Privacy Management und Dienste und Plattformen zur Unterstützung von Open Innovation und Kreativität untersucht und vorgestellt. Diese Version der Habilitationsschrift enthält die inkludierten Publikationen zurVermeidung von Copyright-Verletzungen auf Seiten der Journals u.a. nicht. Kontakt in Bezug auf die Version mit allen inkludierten Publikationen: Georg Groh, [email protected]

Aerospace medicine and biology: A continuing bibliography with indexes, supplement 130, July 1974

This special bibliography lists 291 reports, articles, and other documents introduced into the NASA scientific and technical information system in June 1974

Modernist American Poetry as a Study of Objects

In "Modernist American Poetry as a Study of Objects," I focus on a group of modernist American poets--Robert Frost, Marianne Moore, William Carlos Williams, and George Oppen--who demonstrate an interest in objects and their transformation into aesthetic things. To distinguish between "objects" and "things," I use "thing theory," which grew out of the work of Bill Brown and, to date, has not been adequately applied to lyric poetry. While the object represents an entity one encounters in the world, the thing contains diverse associations and meanings that exceed its material function. Among modernist poets, it is essential to study this point of transformation, from object into thing, to examine the "ideas in things" that get invested in this process. Such a study proves necessary in light of the significant role we understand things to play in modernist literature and in the modern era, when subjects were beginning to negotiate selfhood through and against a world of material things. Further, "things" are commonly recognized as a particular focus of modernist poets, thanks in part to Williams's famous dictate in Paterson, "no ideas but in things." Poets ranging from Gertrude Stein, Wallace Stevens, Ezra Pound, and T.S. Eliot, in addition to those in my study, all present poems in which things serve as a rhetorical focus. While several critics have acknowledged this modernist fascination, no study has addressed how modernist poets use the thing to resolve personal and poetic preoccupations. By focusing, specifically, on the subject's relationship to the object, I explore how things reveal the poet's process of constituting a poetic self by shedding particular anxieties over poetic function and projecting a voice of authority. By bringing poets as diverse and Frost and Oppen into critical conversations about modernism, this study broadens understanding of a uniquely American strain of modernist poetry. American modernists were deeply conscious of the cultural authority inherent in the poetic act, as they sought formal and vocal innovations that could grant the poet a linguistic means to resolve feelings of fragmentation and alienation in the creation of poetic things

Variations and Application Conditions Of the Data Type »Image« - The Foundation of Computational Visualistics

Few years ago, the department of computer science of the University Magdeburg invented a completely new diploma programme called 'computational visualistics', a curriculum dealing with all aspects of computational pictures. Only isolated aspects had been studied so far in computer science, particularly in the independent domains of computer graphics, image processing, information visualization, and computer vision. So is there indeed a coherent domain of research behind such a curriculum? The answer to that question depends crucially on a data structure that acts as a mediator between general visualistics and computer science: the data structure "image". The present text investigates that data structure, its components, and its application conditions, and thus elaborates the very foundations of computational visualistics as a unique and homogenous field of research. Before concentrating on that data structure, the theory of pictures in general and the definition of pictures as perceptoid signs in particular are closely examined. This includes an act-theoretic consideration about resemblance as the crucial link between image and object, the communicative function of context building as the central concept for comparing pictures and language, and several modes of reflection underlying the relation between image and image user. In the main chapter, the data structure "image" is extendedly analyzed under the perspectives of syntax, semantics, and pragmatics. While syntactic aspects mostly concern image processing, semantic questions form the core of computer graphics and computer vision. Pragmatic considerations are particularly involved with interactive pictures but also extend to the field of information visualization and even to computer art. Four case studies provide practical applications of various aspects of the analysis

Touching is Good: An Eidetic Phenomenology of Interface, Interobjectivity, and Interaction in Nintendo\u27s Animal Crossing: Wild World

Situating video games and the meaningful practice of playing video games for future study by the discipline of communication, this eidetic phenomenology centers the focus of such inquiry at the site of the body. As video game studies have heretofore largely ignored or presupposed a bifurcation between player and video game, a phenomenology is likewise crucial to investigating the lived experience of video gaming as an embodied activity by theoretically eschewing such subject/object distinctions and methodologically generating genuinely new, heuristic spaces for thinking about this phenomenon. In particular, the existential phenomenology of Maurice Merleau-Ponty, which emphasizes the body as necessarily enworlded, offers an insightful conceptualization of the video game player’s intentional and meaningful endeavor. Merleau-Ponty’s latter work specifically details the intricacies of a body’s sense of touch, outlining three specific modalities: “a touching of the sleek and the rough,” a “touching of the things,” and “a veritable touching of the touch.” The notion of touch is also key in portraying the already-imbricated nature of player and video game. Using these modalities as frames for organizing experience, I enact performative playings of the video game Animal Crossing: Wild World by Nintendo. This study proceeds methodologically by way of the three-step phenomenological method outlined by Merleau-Ponty – one that necessarily entails a description, a reduction, and an interpretation. Performative playings generate descriptive data later thematized as capta in order to synthetically produce acta, or an interpretive orientation toward the data/capta relationship. Each of three phenomenological reflections respectively examines one of these modalities. The first reflection (upon “a touching of the sleek and the rough”) explores the ways in which the sensual touch of the player both intersects with a new material technology that facilitates game play (the Nintendo DS video game console) by way of a touch-sensitive interface, and “crisscrosses” with a player’s embodied sense of sight. Framed by the human-technology-world relations outlined by technoscience philosopher Don Ihde, descriptions of these intersections and crisscrosses yield interpretations of a corporeal schema with specific embodied preferences for action in various gamic spaces: a being-in-the-(game)world. The second reflection (upon “a touching of the things”) interrogates my interobjective relations with other enworlded body-objects. While I have a body that interacts with this technology, I also am a body – a material object grounded in the self-same flesh of the world. By way of Vivian Sobchack’s philosophy of interobjectivity, I recognize that I am a passionate video game player, and literally re- cognize my primordial, immanent and embodied abilities as both subjective object and objective subject to interpret my experiences being “touched” by the objects of the game world (whose inhabitance I detailed in the first reflection). The third reflection (upon “a veritable touching of the touch”) uses the first two as an experiential ground to explore the ways in which I and other players “keep in touch” by playing video games. My descriptions of these video gaming experiences indicate the presence of Roman Jakobson’s six elements and correlative functions integral to an understanding of human communication, specifically situating video games for study by the discipline of communication. Playing video games is an interactive practice that synthesizes the analog (both/and) logic of human player-subjects and the digital (either/or) logic of game-objects as they emerge from an undifferentiated, chiasmic interrelationship. Operating from a digital-analog logic allows players to convert contexts of choice into choices of context