Cultural measurement on whose terms? Critical friends as an experiment in participant-led evaluation

Critical Friends is an enquiry into the commissioning, planning and delivery of participatory art carried out by the people that such projects claim to empower. Participants become interviewers, researchers and evaluators, acting as ‘productive parasites’ to a process of socially-engaged art. Aims of social cohesion and active citizenship underpinned a series of publicly-funded art commissions in North Greenwich, London (2008-2011). The group of Critical Friends were residents of North Greenwich who came together to investigate what, why and how these socially engaged art projects were happening in their area. Did the projects reflect the ambitious aims to ‘stimulate debate to generate action and change’ and ‘develop connections and relations between people’? Facilitated by myself and Rebecca Maguire over three years, Critical Friends developed their own questions and methods for finding out. While participation and engagement is usually measured for such projects in terms of numbers of people who attend workshops, Critical Friends was a space for enacting a different kind of cultural measurement. The group focused on trying to find out the qualitative experiences of other participants and interrogated the underlying motives, targets and politics behind the commissions. They did this by acting as participant observers in the projects themselves and by interviewing artists, commissioners, board members, their neighbours and friends (http://criticalfriends.sophiehope.org.uk/)

Face Inversion Reduces the Persistence of Global Form and Its Neural Correlates

Face inversion produces a detrimental effect on face recognition. The extent to which the inversion of faces and other kinds of objects influences the perceptual binding of visual information into global forms is not known. We used a behavioral method and functional MRI (fMRI) to measure the effect of face inversion on visual persistence, a type of perceptual memory that reflects sustained awareness of global form. We found that upright faces persisted longer than inverted versions of the same images; we observed a similar effect of inversion on the persistence of animal stimuli. This effect of inversion on persistence was evident in sustained fMRI activity throughout the ventral visual hierarchy, including the lateral occipital area (LO), two face-selective visual areas—the fusiform face area (FFA) and the occipital face area (OFA)—and several early visual areas. V1 showed the same initial fMRI activation to upright and inverted forms but this activation lasted longer for upright stimuli. The inversion effect on persistence-related fMRI activity in V1 and other retinotopic visual areas demonstrates that higher-tier visual areas influence early visual processing via feedback. This feedback effect on figure-ground processing is sensitive to the orientation of the figure