8,816 research outputs found
Increasing Perspectival Obliqueness Increases the Leaning Tower Illusion
No full textThe leaning tower illusion is a perceptual illusion in which two identical images of a tower
photographed from below appear to diverge when juxtaposed. We manipulated the perceived
obliqueness of the (upright) St Mark bell tower in Venice by modifying two parameters both
related to the position of the camera with respect to the tower: (a) increasing the peripherality
of the tower and (b) reducing the distance between the camera and the tower. The resulting
images clearly show that the illusory leaning effect increases as a function of the obliqueness.
Another crucial condition for the leaning tower effect must be that the twin images are perceived
as parts of a unitary display: The illusion increases when the distance between the photos is
progressively increased, but beyond a certain level of separation, the integration of the images
should, of course, break down, and the illusion vanish
A personal approach:an empirical study of the process of studying my son's problem with computer games
No full textThis study explored the process of taking a personal approach to my son’s problems with computer games. As a psychology student, I should have been in a good position to explore the paradoxical emotions and this situation of conflict. Yet I was also aware that relating closely to the people we are studying has long been a taboo even in qualitative research. I nevertheless adopted a collaborative methodology in which I balanced a dual role of parent and researcher. Taking a personal approach, allowing intimate, reciprocal negotiation, I was not only able to put this taboo to the rare empirical test but also achieved an insight that would otherwise have not been available to me. By engaging in dialogue and encouraging the ability to object, a first-person plural (We), position was achieved in which an understanding of this situation developed and has transferred to our everyday lives
Getting Real About Invariants
No full textStoffregen & Bardy argue that unimodal invariants do not exist, and that only "amodal" invariants axe possible. But they confuse two separate issues. Amodal invariants, we argue, do indeed exist to specify features of the environment, but not even an amodal invariant, in isolation, could specie, their "presence" or "reality.
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Changing the Game: Exploring Infants’ Participation in Early Play Routines
No full textPlay has proved to have a central role in children’s development, most notably in rule learning (Piaget, 1965; Sutton-Smith, 1979) and negotiation of roles and goals (Garvey, 1972; Bruner et al., 1976). Yet very little research has been done on early play. The present study focuses on early social games, i.e. vocal-kinetic play routines that mothers use to interact with infants from very early on. We explored 3-month-old infants and their mothers performing a routine game first in the usual way, then in two violated conditions: without gestures and without sound. The aim of the study is to investigate infants’ participation and expectations in the game and whether this participation is affected by changes in the multimodal format of the game. Infants’ facial expressions, gaze and body movements were coded to measure levels of engagement and affective state across the three conditions. Results showed a significant decrease in Limbs Movements and expressions of Positive Affect, an increase in Gaze Away and in Stunned Expression when the game structure was violated. These results indicate that the violated game conditions were experienced as less engaging, either because of an unexpected break in the established joint routine, or simply because they were weaker versions of the same game. Overall, our results suggest that structured, multimodal play routines may constitute interactional contexts that only work as integrated units of auditory and motor resources, representing early communicative contexts which prepare the ground for later, more complex multimodal interactions, such as verbal exchanges
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