The Role of Pictorial Convention in Haptic Picture Perception

Perception ◽  
10.1068/p5020 ◽  
2003 ◽  
Vol 32 (7) ◽  
pp. 887-893 ◽  
Author(s):  
Leanne J Thompson ◽  
Edward P Chronicle ◽  
Alan F Collins

An investigation of tactile picture perception is reported. Blindfolded sighted subjects explored either ‘line drawings’ or ‘textured’ tactile pictures produced on Zytex swell paper. All pictures were ‘two-dimensional’, that is they depicted only one object face and so did not represent a third dimension. Both picture sets represented the same objects. Results revealed that the textured pictures, in which solid surfaces of depicted objects were uniformly textured, were recognised more often than tactile line drawings, in which surfaces of objects were simply bounded by lines. There were no significant correlations between imagery ability (visual, cutaneous, or kinaesthetic) and picture recognition success. Texture may be a form of ‘uniform connectedness’ (Palmer and Rock 1994 Psychonomic Bulletin & Review1 29–55) or ‘common region’ (Palmer 1992 Cognitive Psychology24 436–447), highlighting the global characteristics of stimuli. We argue that textured pictures may encourage the haptic system to take a more globally oriented approach to tactile picture perception, benefiting recognition.

1993 ◽  
Vol 4 (5) ◽  
pp. 336-341 ◽  
Author(s):  
Edward A. Wasserman ◽  
Kim Kirkpatrick-Steger ◽  
Linda J. Van Hamme ◽  
Irving Biederman

Two experiments investigated the role of spatial organization in the discrimination and generalization of complex visual stimuli by pigeons. In Experiment 1. after pigeons had been trained to discriminate line drawings of four objects, they were tested with novel pictures in which the same component parts of the objects were spatially rearranged. The spatially scrambled pictures led to a dramatic drop in recognition accuracy, but responding remained above chance. In Experiment 2, pigeons reached a high level of discriminative performance when required to choose among four different spatial arrangements of the same object parts. These results confirm Cerella's (1980) conclusion that pigeons discriminate the component parts of complex visual stimuli, but. unless it is assumed that the scrambling deleted or created emergent features, the results disconfirm his conclusion that spatial organization plays no role in pigeons' picture perception.


1995 ◽  
Vol 31 (1) ◽  
pp. 61-70 ◽  
Author(s):  
Graham F. White

Many organic pollutants, especially synthetic surfactants, adsorb onto solid surfaces in natural and engineered aquatic environments. Biofilm bacteria on such surfaces make major contributions to microbial heterotrophic activity and biodegradation of organic pollutants. This paper reviews evidence for multiple interactions between surfactants, biodegradative bacteria, and sediment-liquid interfaces. Biodegradable surfactants e.g. SDS, added to a river-water microcosm were rapidly adsorb to sediment surface and stimulated the indigenous bacteria to attach to the sediment particles. Recalcitrant surfactants and non-surfactant organic nutrients did not stimulate attachment Attachment of bacteria was maximal when biodegradation was fastest, and was reversed when biodegradation was complete. Dodecanol, the primary product of SDS-biodegradation, markedly stimulated attachment. When SDS was added to suspensions containing sediment and either known degraders or known non-degraders, only the degraders became attached, and attachment accelerated surfactant biodegradation to dodecanol. These cyclical cooperative interactions have implications for the design of biodegradability-tests, the impact of surfactant adjuvants on biodegradability of herbicides/pesticides formulated with surfactants, and the role of surfactants used to accelerate bioremediation of hydrocarbon-polluted soils.


2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.


Langmuir ◽  
2020 ◽  
Vol 36 (28) ◽  
pp. 8301-8310 ◽  
Author(s):  
Md Farhad Ismail ◽  
Behnam Khorshidi ◽  
Mohtada Sadrzadeh

1994 ◽  
Vol 45 (1-4) ◽  
pp. 119-123 ◽  
Author(s):  
B.V. Derjaguin ◽  
I.N. Aleinikova ◽  
Yu.P. Toporov

2015 ◽  
Vol 143 (13) ◽  
pp. 134705 ◽  
Author(s):  
F. Bottiglione ◽  
G. Carbone ◽  
B. N. J. Persson

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