Iran's nuclear ambitions and the new world order

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Integration biases in the Ouchi and other visual illusions

A texture pattern devised by the Japanese artist H Ouchi has attracted wide attention because of the striking appearance of relative motion it evokes. The illusion has been the subject of several recent empirical studies. A new account is presented, along with a simple experimental test, that attributes the illusion to a bias in the way that local motion signals generated at different locations on each element are combined to code element motion. The account is generalised to two spatial illusions, the Judd illusion and the Zöllner illusion (previously considered unrelated to the Ouchi illusion). The notion of integration bias is consistent with recent Bayesian approaches to visual coding, according to which the weight attached to each signal reflects its reliability and likelihood

'It is a place, Makom, where each man may be called up': Being and time in Barnett Newman's art

Newman’s zips act as a kind of intervention or temporal event that differentiates the canvas, preventing Being from falling into the anonymous and impersonal il y a. The zip is what might be described as ecstatic temporality (ecstatic from the Ancient Greek ek “out” + histanai “to place, cause to stand out”). Time not only gives sense or meaning to Being, it marks the emergence of sensation, the physical materiality of something or someone

The correlation of science and ethics in Hermann Cohen's philosophy

Hermann Cohen made a distinction between the logic of science and the ideal of ethics, and noted that the natural world and the world of ethics are perceived very differently. This is because the order of the physical world is unchangeable (e.g, the sun sets in the west, night follows day, etc), while in the ideal world ethical rules can be accepted or rejected. It seems there should be one explanation for science, which is empirically self-evident, and another for ethics, which is something that is open to debate. Cohen reasoned there must be something that allows science and ethics to coexist and interrelate

Aesthetic judgement of orientation in modern art

When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified

Corrugation of Roads

We present a one dimensional model for the development of corrugations in roads subjected to compressive forces from a flux of cars. The cars are modeled as damped harmonic oscillators translating with constant horizontal velocity across the surface, and the road surface is subject to diffusive relaxation. We derive dimensionless coupled equations of motion for the positions of the cars and the road surface H(x,t), which contain two phenomenological variables: an effective diffusion constant Delta(H) that characterizes the relaxation of the road surface, and a function alpha(H) that characterizes the plasticity or erodibility of the road bed. Linear stability analysis shows that corrugations grow if the speed of the cars exceeds a critical value, which decreases if the flux of cars is increased. Modifying the model to enforce the simple fact that the normal force exerted by the road can never be negative seems to lead to restabilized, quasi-steady road shapes, in which the corrugation amplitude and phase velocity remain fixed.Comment: 20 pages, 8 figures, typos correcte

Homogeneous Polynomials with Isomorphic Milnor Algebras

In Theorem 3.2 we show that two homogeneous polynomials $f$ and $g$ having isomorphic Milnor algebras are right-equivalent.Comment: 6 page