Jan Sawka’s Screen Play

In common sense experience based on introspection, consciousness is singular. There is only one ‘me’ and that is the one that is conscious. This means that ‘singularity’ is a defining aspect of ‘consciousness’. However, the three main theories of consciousness, Integrated Information, Global Workspace and Recurrent Processing theory, are generally not very clear on this issue. These theories have traditionally relied heavily on neuropsychological observations and have interpreted various disorders, such as anosognosia, neglect and split‐brain as impairments in conscious awareness without any reference to ‘the singularity’. In this review, we will re‐examine the theoretical implications of these impairments in conscious awareness and propose a new way how to conceptualize consciousness of singularity. We will argue that the subjective feeling of singularity can coexist with several disunified conscious experiences. Singularity awareness may only come into existence due to environmental response constraints. That is, perceptual, language, memory, attentional and motor processes may largely proceed unintegrated in parallel, whereas a sense of unity only arises when organisms need to respond coherently constrained by the affordances of the environment. Next, we examine from this perspective psychiatric disorders and psycho‐active drugs. Finally, we present a first attempt to test this hypothesis with a resting state imaging experiment in a split‐brain patient. The results suggest that there is substantial coherence of activation across the two hemispheres. These data show that a complete lesioning of the corpus callosum does not, in general, alter the resting state networks of the brain. Thus, we propose that we have separate systems in the brain that generate distributed conscious. The sense of singularity, the experience of a ‘Me‐ness’, emerges in the interaction between the world and response‐planning systems, and this leads to coherent activation in the different functional networks across the cortex.

Reviewed by: Groove: A Phenomenology of Rhythmic Nuance by Tiger C. Roholt Scott Gleason Groove: A Phenomenology of Rhythmic Nuance. By Tiger C. Roholt. New York: Bloomsbury, 2014. [ix, 175p. ISBN 9781441166272 (hardcover), $100; ISBN 9781441104182 (paperback), $29.95; ISBN 9781441170774 (e-book), $25.99.] Music examples, illustrations, bibliography, discography, index. Why philosophize about musical groove, a phenomenon whose importance to so many African diasporic musics appears self-evident? Why philosophize as opposed to, for example, specifying with greater precision the qualities of grooves from traditional music-analytical perspectives, or seeking to understand ethnographically groove’s verbal discourses and cultures? In Groove: A Phenomenology of Rhythmic Nuance, Tiger C. Roholt intervenes in a contentious [End Page 106] problematic, with groove as his terrain: that of disembodied formalism’s inability to value Afrological musics, let alone to “get” them, to groove. Roholt argues that to comprehend a groove specifically is to feel it, actually to move one’s body, to attend to its “conspicuous affective dimension” (p. 2), and hence the “analytical” specification of grooves’ nuances falsely assumes it can adequately account for their bodily effects (pp. 40 and 51–82), which are their very defining features, the reasons we care about them in the first place. Roholt further utilizes a kind of ad hoc discursive ethnography in building his argument, which acknowledges groove’s status as an Afrological music, leading him to attend carefully to groove as a distinct cultural practice, hence seeking to value it as such. Where, then, does Roholt’s properly philosophical approach to groove lie? Utilizing the descriptive resources of phenomenology, appeal is made to the first-person introspection of experiences, which are verbally shareable and thus productive of knowledge. Roholt specifically argues that Maurice Merleau-Ponty’s theory of “motor-intentionality” empowers us to address the type of feel grooves convey: to understand a groove is not solely or quite to feel it, but a more nuanced (if I may) and complex concept: “to comprehend it bodily and to feel that comprehension” (p. 5, emphasis original; see also, pp. 93–122). This implies a cycle of recursion: grooves are felt, but, too, our simultaneous understandings of them are also experienced as felt. This argument enables us to mediate concept and experience in music, an ongoing concern in philosophical and theoretical discussions. By placing priority on the feel of a groove, Roholt is able to do justice philosophically to what appears to be most listeners’ primary concern about groove: the feel, the feelings a groove evokes or embodies, and the way a groove makes you move. Discussion of the feelings or the feel of a musical groove could lead to claims about its ineffability, however. To his credit, Roholt (pp. 27–38) takes this possibility seriously, in the traditional philosophical manner of arguing against it. His argument takes the form of a critique of Diana Raffman’s cognitivist account of musical ineffability (in Language, Music, and Mind [Cambridge, MA: MIT Press, 1993]), which argues that musical nuances do not admit of cognitive representation—conceptualization and recall—and are thus inexpressible verbally. (Raffman specifically limits her discussion to the pitch domain [ibid., pp. 7–8]; Roholt is concerned primarily with musical temporality.) The tenor of Raffman’s analytic account is far from mystical (as is often implied by continental discussions of musical ineffability), and yet she does argue musical nuances are ineffable. Roholt argues, via his ad hoc ethnography and appeal to intuition and common experience, that musicians nonetheless find ways to communicate regarding desired musical nuances (pp. 22–26). A bass player tells a drummer to “drive harder” during the pre-chorus, to “relax into” a hypermetrically strong beat. These metaphors address microtimings nonanalytically—indirectly—and yet they are verbal expressions. The nuances of musical grooves are thus effable. Roholt’s discourse writes against a complex disciplinary problematic, mediating music studies (music theory and analysis), philosophy (phenomenology and analytic philosophy), (music) cognition, ethnography (ethnomusicology), and even critical race theory. Interesting here are the limits and pressures this interdisciplinary problematic places on the possibility of a phenomenology of groove. For example, an ethnomusicological optic sensitizes us to Roholt’s implicit ethnographic claims regarding what band members and...

The recognition potential and conscious awareness

En el episodio de los batanes (1.20), Cervantes expresa una concepción de la cognición corporeizada que propone que todo conocimiento surge de una interacción física entre el cerebro, el cuerpo y el medio ambiente natural. El episodio es uno de los primeros en los que Sancho Panza aprende a manipular a don Quijote para conseguir sus propios fines y para controlar un ambiente que le parece amenazador. Las acciones centrales de la aventura, que se representan en términos materiales y sensoriales, constan de varias adaptaciones cognitivas a los estímulos naturales, con un énfasis particular en los procesos de ingestión y digestión, tanto de comida como de narrativa. En este contexto cognitivo, la acción de contar y escuchar historias satisface una necesidad biológica que Ellen Spolsky ha llamado “representational hunger.”

Affective realism, the phenomenon whereby affect is integrated into an individual’s experience of the world, is a normal consequence of how the brain processes sensory information from the external world in the context of sensations from the body. In the present investigation, we provided compelling empirical evidence that affective realism involves changes in visual perception (i.e., affect changes how participants see neutral stimuli). In two studies, we used an interocular suppression technique, continuous flash suppression, to present affective images outside of participants’ conscious awareness. We demonstrated that seen neutral faces are perceived as more smiling when paired with unseen affectively positive stimuli. Study 2 also demonstrated that seen neutral faces are perceived as more scowling when paired with unseen affectively negative stimuli. These findings have implications for real-world situations and challenge beliefs that affect is a distinct psychological phenomenon that can be separated from cognition and perception.

With the development of industry and the progress of science and technology, more and more new technology is gradually applied to the movement of error correction. This not only relieves workers of unneeded burdens by making their task more straightforward and error-free, but it also improves production efficiency. Deep neural networks are one of these new technologies that have exploded in popularity in recent years, with applications in a variety of industries. Of course, the application in image recognition must not be less, image recognition technology based on deep neural network has become more mature, and the error rate of recognition is now much lower than human vision recognition. So at present, some industrial detection is gradually from human vision detection to computer vision detection. This study discloses a basketball action error correction method based on deep learning image recognition, which includes the following steps: receiving each frame of basketball image captured from the fitness video, recording the corresponding time of each frame of fitness image, and preprocessing each frame of fitness image; the preprocessed basketball image was fed into the human joint recognition model, and the human joint recognition model calculated each human joint in the fitness image and output its position coordinates. According to the coordinate position of each joint orderly line, the human skeleton diagram is obtained; the human skeleton diagram is compared and assessed in accordance with standard fitness action, and the nonstandard basketball image is generated to realize basketball action repair. A basketball action error correction system based on deep learning picture identification is also disclosed in the invention. The system and method are capable of efficiently addressing the difficult challenge of comparing fitness movements with and without music rhythm.

This phenomenological reflection invites us to consider what it feels like to be looked at, as a visibly pierced and tattooed pre-service teacher, by a supervising principal. Drawing from Maurice Merleau-Ponty’s phenomenology of perception, theories of the look in education forwarded by Madeleine Grumet, Michel Foucault’s notion of the disciplinary gaze and Luce Irigaray’s work on intersubjectivity, this article delves into the layers of meaning within a piercing moment. This inquiry thus fleshes out what it feels like to be seen as a body-modified teacher in comparison to that of the “expected teacher” image during a time of struggle when one’s newly-forming teacher identity clashes with one’s personal self-identity. It also provides context for better understanding, both palpably and politically, the sense of vision in education from various perspectives: looking within, looking down, the uniform look, the stereotypical look and the mutual look

ABSTRACT: Vision gets a bad rap, largely because of the ways it has been recruited into western philosophical and cultural projects of objectivity and domination and then repudiated by their critics (Jay 1993). Accordingly, common metaphors of perspective unfold in just this problem-space of subjective location and object-knowledge: what I see from where I am. If such notions of perspective position vision as a self-defining abstraction from the visual signal, then this paper argues for an expanded and realistic approach—one that re-inscribes the moving/seeing body within its ambient environment—yielding a notion of perspective as process and ground for registering the presence of others. This paper draws on ethnographic scenes from hospitality interactions in the Dhofar mountains of Oman to track how the infrastructural reorganizations of the built and social landscape that incorporated Śeḥret speakers into the modern state refigure visibility and participation in everyday gatherings at the home. Through Maurice Merleau-Ponty and James Gibson’s theories of vision, this paper explores the role of moving and seeing in practices organizing engagement and participation in hospitality interactions, foregrounding movement as a useful ethnographic horizon for both linguistic anthropologies of interaction and broader inquiries into perception.

Visual perception, operating below conscious awareness, effortlessly provides the experience of a rich representation of the environment, continuous in space and time. Conscious visual perception is made possible by the 'foveal compromise,' the combination of the high-acuity fovea and a sophisticated suite of eye movements. Our illusory visual experience cannot be understood by introspection, but monitoring eye movements lets us probe the processes of visual perception. Four tasks representing a wide range of complexity were used to explore visual perception; image quality judgments, map reading, model building, and hand-washing. Very short fixation durations were observed in all tasks, some as short as 33 msec. While some tasks showed little variation in eye movement metrics, differences in eye movement patterns and high-level strategies were observed in the model building and hand washing tasks. Performance in the hand washing task revealed a new type of eye movement. 'Planful' eye movements were made to objects well in advance of a subject's interaction with the object. Often occurring in the middle of another task, they provide 'overlapping' temporal information about the environment providing a mechanism to produce our conscious visual experience.

Visual space perception has been a topic of sustained research since the nineteenth century. Much of this research into the geometry of visual space, however, required observers to make judgments about spatial relationships between isolated points in total darkness. While a sizeable number of previous investigations have now explored visual space perception in outdoor natural environments, nearly all of the previous investigations evaluating the curvature of visual space have utilized only small numbers of observers. In the current experiment, a large number (30) of observers adjusted triangular configurations of markers in an outdoor field until they appeared either as equilateral or right triangles in depth. There was a wide range of outcomes, such that the observers’ judgments were consistent with elliptic, Euclidean, and hyperbolic geometry. There is thus no single consistent relationship between physical space and perceived space. Furthermore, the geometry of visual space frequently changes as the size of spatial configurations is varied—for many observers, judgments for small configurations are consistent with elliptic or Euclidean geometry while judgments for large configurations are frequently consistent with hyperbolic geometry.

Deformation phosphenes are light sensations evoked by deformation of the eyeball in total darkness. They were first reported in Western literature by Alcmaeon of Croton in the fifth century B.C. The phenomenon of deformation phosphenes was instrumental in prompting some pre-Socratic philosophers and Plato to conceive the idea that efferent light is emitted from the eye for the purpose of vision and a 'cone of vision' is formed by interaction with the external light. In the theories of vision this cone of vision played an important role as a signal-transmitting structure and was also used by the Greek opticians as a geometrical construction to explain optical properties of vision. The impact of the deformation phosphene experiment on the ideas of visual sensation can be followed from Greek antiquity through the period of Roman dominance and Galen's medical teaching on to medieval times and up to the late Renaissance when, based on the anatomy of the eye as illustrated by Felix Platter, the image formation on the retina was correctly described for the first time by Johannes Kepler. In the generations following, deformation phosphenes were still employed as an important argument in defence of the theories of vision. However, the idea of physical light generated by eyeball deformation was rejected with increasing frequency during the 17th and 18th centuries. The literature on this topic is discussed, comprising the contributions of the Arabic philosophers and physicians of the 9th and 10th centuries A.D., the Franciscan and Dominican philosophers of the 13th century, Nicolaus Cusanus of the 15th century, several anatomists of the 16th and 17th centuries, Kepler, Plempius, Descartes, Boyle, Newton and others. After Kepler, the mechanical interpretation of the deformation phosphene being caused by direct action of the eyeball deformation onto the retina slowly became dominant, and the idea that physical light is generated in the eye disappeared. The experimentum crucis in this matter was performed by Giovanni Battista Morgagni (1682-1771) and repeated and extended by Georg August Langguth (1711-1782). On the basis of their results, the case for physical light being generated in the eye by deformation was refuted definitively and slowly vanished thereafter from scientific literature. Deformation phosphenes were used in the 19th and 20th centuries as an instructive example of the percepts evoked by inadequate stimulation of a sense organ. J.E. Pŭrkyne in particular contributed to the study of deformation phosphenes, and finally in 1978, F. Tyler devoted a careful study to the differences between monocular and binocular deformation phosphenes.(ABSTRACT TRUNCATED AT 400 WORDS)

Cultural Technique in Creative Practice: Exploring Cultural Embodiment in the Movement of the Body in a Studio Space

This paper introduces a spatio-temporal technique for selecting or filtering out lower quality digital image frames. The technique is demonstrated on Electro-Optical/Infrared image sequences which suggests it is a candidate for exploiting reconnaissance (recce) imagery or can be a part of a recce subsystem. For human vision exploitation, a few poor quality image frames out of hundreds in a digital image sequence may be only a minor irritation when the sequence runs at the typical 30 frames per se cond. Of course, if that human needs to examine each frame, a system that automatically removes or enhances lower quality image frames could be beneficial. For machine vision subsystems, a few poor quality image frames could cause lower probability of recognition.The filter technique introduced in this paper can improve input into machine vision algorithms. Another application for this technique is digital transmission to filter out unwanted images prior to transmission or to selectively enhance the poor quality frames. A major portion of current research into quality in digital image sequences focuses on transmission systems where an input high quality image sequence can be compared to the lower quality image sequence receivved at the output of the transmission system. However, this paper shows a technique for juding the quality of the input image frames prior to transmission, without a transmission system or without any knowledge of the higher quality image input. The impact of digital image artifacts on the spatio-temporal quality are shown. The quality variations in the individual frames of the input image sequence are charted to show which frames are of lower quality and thus need filtering.

In this chapter I argue that African American art is one of the most productive sites for excavating the "archaic" in African American consciousness. It is only in this sense that African American art can function as "text." Perhaps we should substitute the term "site" instead. "Archaism," according to Long, "is predicated on the priority of something already there, something given. This 'something' may be the bodily perceptions, as it is for Alfred North Whitehead and Maurice Merleau-Ponty, or a primal vision of aesthetic form, as it is for the artist" (my emphasis).1KeywordsBlack CommunityBlack ChurchBlack CultureBlack ExperienceBlack FolkThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

This paper would like to explore the return of a new “culturalist approach” to language, particularly in relation to visual representation and the spatial dimension. First, we will present the concepts of vision and space as recently described by cognitive linguistics (eg Lakoff, Johnson, with the idea of “embodiment”, or Talmy). Secondly, we will investigate the links between this cognitive linguistic trend and the “culturalist” point of view, especially in its recent versions (for example, Palmer). Comparisons have been proposed with some models that come from the neuro-mathematics of perception and visual cognition (these investigations are linked to a return to Merleau-Ponty’s phenomenology; an influence that is also relevant inside cognitive linguistics). Finally we will try to highlight some possible convergence points of these studies.