Symmetry in Emotional and Visual Similarity between Neutral and Negative Faces

Is Mr. Hyde more similar to his alter ego Dr. Jekyll, because of their physical identity, or to Jack the Ripper, because both evoke fear and loathing? The relative weight of emotional and visual dimensions in similarity judgements is still unclear. We expected an asymmetric effect of these dimensions on similarity perception, such that faces that express the same or similar feeling are judged as more similar than different emotional expressions of same person. We selected 10 male faces with different expressions. Each face posed one neutral expression and one emotional expression (five disgust, five fear). We paired these expressions, resulting in 190 pairs, varying either in emotional expressions, physical identity, or both. Twenty healthy participants rated the similarity of paired faces on a 7-point scale. We report a symmetric effect of emotional expression and identity on similarity judgements, suggesting that people may perceive Mr. Hyde to be just as similar to Dr. Jekyll (identity) as to Jack the Ripper (emotion). We also observed that emotional mismatch decreased perceived similarity, suggesting that emotions play a prominent role in similarity judgements. From an evolutionary perspective, poor discrimination between emotional stimuli might endanger the individual.

Symmetry in emotional and visual similarity between neutral and negative faces

Is Mr Hyde more similar to his alter ego Dr Jekyll, because of their physical identity, or to Jack the Ripper, because both evoke fear and loathing? The relative weight of emotional and visual dimensions in similarity judgements is still unclear. We expected an asymmetric effect of these dimensions on similarity perception, such that faces that express the same or similar feeling are judged as more similar than different emotional expressions of same person. We selected 10 male faces posing different expressions. Each male posed one neutral expression and one emotional expression (5 disgust, 5 fear). We paired these expressions, resulting in 190 pairs, which differed either in emotional expressions, physical identity, or both. Twenty healthy participants rated the similarity of paired faces on a 7-points scale. We report a symmetric effect of emotional expression and identity on similarity judgements, suggesting that people may perceive Mr Hyde to be just as similar to Dr Jekyll (identity) as to Jack the Ripper (emotion). We also observed that emotional mismatch decreased perceived similarity, suggesting that emotions play a prominent role in similarity judgements. From an evolutionary perspective, poor discrimination between emotional stimuli may not be advantageous to the individual.

STUDI PERBANDINGAN ANIMASI 360 DERAJAT BERTEMA SEJARAH

To identify general characteristics of historical-themed 360o animation, visual characteristics, and ways of delivering material in historical learning media, this study attempts to compare three historical-themed 360o animations, namely the game trailler Assassin's Creed Syndicate Jack the Ripper, Dinosaurs World 360 VR, and Dunkirk 'Save Every Breath'. This research method is by determine the benchmark focus, planning and research, data collection, implementation, recommendations, and analysis. In general, historical 360o animation uses 3D animation techniques. The flow used tends to be linear with narrative storytelling. The point of view used is first person. The camera movement used is a follow subject. Key Words: Animation 360 Degree, Learning Media, History

The Proto-Horror-Comedy: Waxworks

Westerdale’s chapter revisits the place of Waxworks within the canon of expressionist cinema emerging from Germany in the early years of the Weimar Republic. Waxworks is among a key group of films, which also includes Robert Wiene’s The Cabinet of Dr. Caligari (1920), Carl Boese’s The Golem (1920), Fritz Lang’s Destiny (1921), F. W. Murnau’s Nosferatu (1922), and Arthur Robison’s Warning Shadows (1923), that frequently functions as metonymic shorthand for early Weimar cinema as a whole. As this essay argues, however, Waxworks is also significant for its contributions as a comedy. Though the episodes with Ivan the Terrible and Jack the Ripper are predictably grim, the film’s longest sequence presents a Baghdad burlesque in which Emil Jannings’ lecherous caliph Harun al-Rashid is more clown than villain. Such an episode sits uneasily in the “historical imaginary” (to borrow Thomas Elsaesser’s term) that continues to dominate discussions of early Weimar film.

A new front in the history wars? Responding to Rubenhold’s feminist revision of the Ripper

Hallie Rubenhold’s The Five: The Untold Lives of the Women Killed By Jack the Ripper has drawn the criticism of the community of amateur sleuths dubbed ‘Ripperologists’ for its revisionist perspective, which claims that the canonical five victims of Jack the Ripper were not all sex workers. Rubenhold’s victim-centred approach has opened a new front in the history wars, as Ripperologists accuse her of historical denialism in pursuit of a feminist agenda. This article assesses Rubenhold’s methods, and her contribution to historical criminology, as well as considering why dominant historical narratives of crime prove so resistant to reinterpretation.

Zmagania z boginią. Prosto z piekła Alana Moore’a i Eddiego Campbella

Alan Moore and Eddie Campbell’s From Hell tells a version of the story of Jack the Ripper, here identified as William Gull, royal physician to Queen Victoria. Gull is depicted as believing that only by killing prostitutes in a gory ritualistic manner, will he be able to save Whitechapel as well as all of London from a collapse into degeneration, both social and intellectual, which is to be suffered at the hands of the broadly defined female element. In the present article From Hell is shown to be a story of an attempt at constraining and repressing the feminine, which for Gull is responsible for the progressing decrepitude. It is here argued that the desire to stifle the female represents an attempt to root out the creative impulse in favour of tyranny of reason, which Gull derives from a conserv-ative world view that regards tradition as a collection of beliefs impervious to change or challenge.

'God' the name

The word ‘God’ is typically thought to be a proper name, a name of a defined entity. From another position it appears to be a description that is fundamentally synonymous to ‘the first of all causes’, or ‘the font et origo of the structure of possibilities’, or ‘the provenience of being’, or ‘the generator of existence’. This lends credence to the view that ‘God’ is a truncated definite description. However, this article proposes that ‘God’ is a name given to whatever is that which is the first of all causes, the font et origo of the structure of possibilities, the provenience of being, the generator of existence. If so, then it is a descriptive name. Yet even among descriptive names ‘God’ is unique, for it is neither convertible to a proper name (unlike ‘Neptune’), nor to a definite description (unlike ‘Jack the Ripper’ and ‘Deep Throat’). ‘God’ is an inveterate descriptive name.