Identifying the information for the visual perception of relative phase

The production and perception of coordinated rhythmic movement are very specifically structured. For production and perception, 0° mean relative phase is stable, 180° is less stable, and no other state is stable without training. It has been hypothesized that perceptual stability characteristics underpin the movement stability characteristics, which has led to the development of a phase-driven oscillator model (e.g., Bingham, 2004a, 2004b). In the present study, a novel perturbation method was used to explore the identity of the perceptual information being used in rhythmic movement tasks. In the three conditions, relative position, relative speed, and frequency (variables motivated by the model) were selectively perturbed. Ten participants performed a judgment task to identify 0° or 180° under these perturbation conditions, and 8 participants who had been trained to visually discriminate 90° performed the task with perturbed 90° displays. Discrimination of 0° and 180° was unperturbed in 7 out of the 10 participants, but discrimination of 90° was completely disrupted by the position perturbation and was made noisy by the frequency perturbation. We concluded that (1) the information used by most observers to perceive relative phase at 0° and 180° was relative direction and (2) becoming an expert perceiver of 90° entails learning a new variable composed of position and speed

War Bugs: Street Art as Performed Discourse in Bogotá

The Arts: 2nd Place (The Ohio State University Edward F. Hayes Graduate Research Forum)Historically, the embodied practice of making stencil or graffiti art has been uniquely heightened because of the fact that the artist is in danger of arrest during the creation of the work. This has led to anti-authoritarian posturing and interpretation by the artists and spectators. However, new commercial opportunities for urban artists and increasing acceptance of their art as art has led to the establishment of legal spaces for street art in some cities, including Bogotá. Theorists such as Jean Boudrillard, Dwight Conquergood, and others who have contributed to the theorization of graffiti have generally conceived of graffiti as textual, that is, they discuss graffiti in terms employed for the analysis of stable texts or artifacts. Graffiti artists acknowledge that their work is not stable; rather it is subject to amendment or deletion by other artists, by property owners, or by the authorities. For this reason, my analysis follows Diana Taylor’s distinction between the archive, or forms of documentation which are usually stable such as books, recordings, etc., and the repertoire, or systems of memory making which are temporal, embodied, and fluid. My project is to shift the theoretical perspective on graffiti away from the text/statement frame toward a performance/discourse frame. The visual landscape in public urban spaces is predominantly controlled by government or religious interests and corporate branding. Street art repertoires seek to interrupt this visual field, contesting the narratives of powerful interests and re-writing, or rather, over-writing the urban geography. If graffiti and stencil art implicitly critique the dominance of the visual landscape by corporate and government interests, is this criticism undermined when urban artists become commercially successful? How does that affect the political efficacy of the art? These are a few of the questions I begin to address in my ongoing research. In a country whose government is, even as I write, attempting to negotiate a peaceful resolution to decades-long conflict in which tens of thousands of lives have been lost, it is critical to examine the politically engaged cultural production of artists like Dj Lu, whose work contests dominant narratives and underscores links between corporate consumerism, the weapons which are supplied and disseminated in the support of neoliberal ideology, and the traumatized Earth violated by pollution and exploitation.A five-year embargo was granted for this item

Mapa Teatro, Mockus, and Modos de hacer

This article analyzes the relationship between cultura ciudadana —the social-engagement program of Colombian sociologist and former mayor of Bogotá Antanas Mockus— and the artistic practice of Bogotá’s Mapa Teatro, particularly those works that focus on the demolished barrio known as El Cartucho. Particular attention is paid to how the politician and the artists share an understanding of citizenship/belonging that emphasizes the repertoires of behavior embedded in shared social space. The analysis of these behavioral histories builds on the valuable work of those who have written on Mapa Teatro, such as Ileana Diéguez, Karen Till, Doreen Massey, and Vicky Unruh, while shedding new light on how Mapa Teatro’s dramaturgy engaged with Mockus’ cultural politics to challenge the stigmatization and marginalization of a community through an emphasis on the relationship between histories of behavior in social space and the construction of cultural citizenship

Screening for social anxiety disorder in first year university students: A pilot study

Copyright to Australian Family Physician. Reproduced with permission. Permission to reproduce must be sought from the publisher, The Royal Australian College of General Practitioners.Ian Wilso